10.35 · The Gopīs Sing of Kṛṣṇa as He Wanders in the Forest

In the thirty fifth chapter, the gopis, pining in separation from Krsna, spend their days relishing him through reciting twelve pairs of verses. Prema, in order to nourish itself, divided itself into two parts, the coolness of enjoyment in the moonlight, and the heat of separation in the daylight. The gopis spent their nights as previously described, directly associating with Krsna, singing and dancing, conversing, kissing, absorbed in the conjugal rasa. That has been described. In the daytime, they could only associate with Krsna by thinking of him. Tasting the flute song, they became absorbed in the rasa of separation. When Krsna went to the forest to herd the cows, the gopis’ minds followed after him quickly (tam anu druta cetasam).

Śukadeva Gosvāmī said: Whenever Kṛṣṇa went to the forest, the minds of the gopīs would run after him, and thus the young girls sadly spent their days singing of his pastimes. The gopīs who delighted in Kṛṣṇa during the night with the rāsa pastimes would be overcome with great sorrow during the day. Parāśara says sa tathā saha gopībhir rarāma madhuṣudanaḥ tathābda-koṭi-pratimaḥ kṣaṇas tena vinābhavat Kṛṣṇa sported with the gopīs in such a way that during the day a moment felt like millions of years in his absence. How could they tolerate such unhappiness? Describing their separation during the days in order to nourish their enjoyment during the nights, Śukadeva shows how they passed their time. Their minds went quickly with him (anudruta-cetasaḥ). Or their hearts melted on thinking of him. Because of absorption in him, they stopped their household duties. All glories to the unprecedented greatness of the gopīs. Taking a particle of their support, I will explain their song.

The gopīs who delighted in Kṛṣṇa during the night with the rāsa pastimes would be overcome with great sorrow during the day. Parāśara says sa tathā saha gopībhir rarāma madhuṣudanaḥ tathābda-koṭi-pratimaḥ kṣaṇas tena vinābhavat Kṛṣṇa sported with the gopīs in such a way that during the day a moment felt like millions of years in his absence. When Kṛṣṇa, the most attractive person or he who was filled with the highest bliss, went to the forest of Vṛndāvana during the day, the gopīs could not tolerate the separation. Their hearts quickly pursued him because of the attachment. They sang in a remarkable manner which attracted the whole universe, predominated with the beguiling sound of the flute about Kṛṣṇa’s forest pastimes with Kṛṣṇa dressed in his forest outfit. Because their hearts followed him they could not do their household chores. They absorbed themselves in his pastimes since they were non-different from him. They passed the remaining time in sorrow singing. This is confirmed in verse 26. Since they passed their time singing, the greatness of singing his pastimes is shown. Or they passed their days with difficulty, not able to tolerate the separation, because they sang about his pastimes. This was because they were gopīs, devoted to him alone. All glories to the unprecedented greatness of the gopīs. Taking a particle of their support, I will explain their song.

When Krsna, herding his cows in Vrndavana, played his flute to announce his coming to the trees, creepers, birds and beasts suffering in separation, the gopis, whose love increased on hearing that sound, spoke to their friends in twelve pairs of verses. Krsna rested his left cheek on the base of his left arm, in order to play gamakas (vibrato) in ascending and descending modes of the ragas. At that time he placed his left shank over his right shank and assumed a three fold bending form, which enchanted the three worlds, while tilting his neck. His eyebrows danced to attract the attention of Subala and others to the skillfulness of his songs. The flute was placed on the lower lip. What type of flute was it? It was equipped with seven holes which were covered by his fingers which were softer than those of others (because of not doing heavy labor) but somewhat harder than his other limbs. The wives of the siddhas flying in the sky, though accompanied by their husbands, on hearing the sound of the flute, became astonished. "We have never heard such enchanting flute playing before!" It was astonishing because it enchants us who are chaste women, and moreover, it enchants our husbands, who have given up their identity as males and become female." That was their first cause of astonishment. The women, being with their husbands, became embarrassed, thinking, "Our husbands, seeing our agitation, will have doubts about us." The husbands on the other hand became embarrassed, thinking, "Having given up our male identity and adopted female identities, our wives will have doubts about us." Then together with their husbands, they offered themselves to the arrows of lust. Seeing the arrows of love for Krsna approaching quickly, the wives said, "O arrows of love for Krsna! Pierce these hearts quickly which have been offered to you. Let us give up our faithfulness to our husbands and let Krsna enjoy with us!" The husbands said, "As we have given up our male and devata identities, immediately make us into gopis and enjoy with us." Then the women along with their husbands, so afflicted by the arrows of lust, became stunned (kasmalam). The same feelings appeared in both parties at once. Therefore, the women’s belts became loosened without their knowing, and the men’s clothes and hair became loose without their knowing. "If the devatas reach such a state, what can be said of humans? And what can be said of gopis? and what can be said of those who live with Krsna in the same village? And what can be said of those who attained his direct association? How can live without him? Even while our husbands and children watch and scold us, let us enter the forest of Vrndavana and enjoy with our beloved." This is the implication at the end of each pair of verses.

It would be difficult for all the gopīs to speak simultaneously in one gathering, since there were thousands of groups with individual realizations. Thus this chapter is a collection of statements of the devoted gopīs describing daily general pastimes addressing various devotees such as Yaśodā (for instance tava sutaḥ sate in verse 14). Though the verses do not depend on relationship to other verses, Śukadeva has gathered the verses in order of the time of day. Sometimes two or three pairs are spoken in the same assembly. The descriptions are grouped in pairs of verses, and each pair consists of a description of the pastime (Kṛṣṇa playing his flute) and then the persons who are nourished by the pastime. Kṛṣṇa’s pastimes alone are the highest goal and the persons experiencing the pastimes respond to them. Thus without taking the verses in pairs there is no satisfaction. “It is so unfortunate that we cannot enter into his pastimes.” From the time he leaves in the morning until he returns, the gopīs sing about his pastimes in the forest each according their individual realizations. In the first verse, after going out in the morning he played his flute on the road. The women from heaven, desiring to see him after he has entered his house, remained in the sky at night. First saw him clearly because they were in their vehicles in the sky, he enacted beautiful pastimes while playing his flute with expression on his face. He has his left cheek resting on his left arm and looks upwards crookedly. They were strongly agitated with prema on thinking that he was looking at them. This is described in two verses. The left arm is mentioned rather than the right arm because vāma also means attractive. Because he rests his left check on his left arm, his neck slightly turns. Because his head is turned, his glance is crooked as he looks upward. He is absorbed in playing the flute. Since he is standing in the famous pose with three bends, his right foot is placed over his left foot. His brow flutters. Bhru instead of bhrū is poetic license. Some versions have bhrū. He plays his flute offered to his lips. Or he plays a flute which is always placed on or given to his lips, as a constant configuration. It is similar to the construction āhitāgni: a person who maintains a sacrificial fire perpetually, though the order of words is reversed (adharārpita instead of arpitādhara). The lips are not compared to red bimba fruits since even without the sweetness of the pink color, just by the touch of the lips to the flute, the flute playing becomes attractive. Or, because of Kṛṣṇa’s contact with the flute at all times, the lips became angry and thus changed to a pale color. A great person is said to have hands hardened without work and feet which remain soft, though he walks on the road. But Kṛṣṇa’s fingers are described as soft in this verse. Giving up their hard aspect in comparison to other limbs, the fingers out of affection displayed their soft aspect to compare to other limbs. Out of envy the gopīs say “Those soft fingers should not touch the hard flute but rather touch our soft limbs.” Though he has a natural sweetness in his beauty, in playing the flute he shows particular sweetness by his special gestures. The great attractiveness of his flute playing is shown in this verse. O gopīs! Being very intelligent, you can understand this truth. But others cannot. Yatra means “when.” The usage indicates that the flute playing was the sole and inevitable cause of the heavenly women bewilderment. This applies to later verses also. The heavenly women were riding in the airplanes with devatās controlling the planes (siddhaiḥ). Because of the astonishing scene the women along with their husbands became astonished. Thought they were with their great husbands, their hearts became desirous of Kṛṣṇa. They were embarrassed but in spite of that, they fainted because of their desire and their garments became loose (apaṣmṛta). Or, after astonishment, when they became full of desire, they became ashamed because of their womanly nature. Then they offered their minds to Kṛṣṇa, by the force of strong desire. In that state they fainted. They were ashamed not only because their desires were aroused, but because their clothing slackened in front of their husbands. If the wives of devatās become bewildered, what about us?

Since there were many independent speakers, the verses represent different gopīs speaking. Among the groups some are present in front of Yaśodā (for instance tava sutaḥ sate in verse 14). In the first verse, after going out in the morning he played his flute on the road. The women from heaven, desiring to see him after he has entered his house, remained in the sky at night. First they saw him clearly because they were in their vehicles in the sky. He enacts beautiful pastimes while playing his flute with expression on his face. He has his left cheek resting on his left arm and looks upwards crookedly. They were strongly agitated with prema on thinking that he was looking at them. This is described in two verses. The left arm is mentioned rather than the right arm because vāma also means attractive. Because he rests his left check on his left arm, his neck slightly turns. Because his head is turned, his glance is crooked as he looks upward. He is absorbed in playing the flute. Since he is standing in the famous pose with three bends, his right foot is placed over his left foot. His brow flutters. Bhru instead of bhrū is poetic license. Some versions have bhrū. He plays his flute which is offered to his lips. Or he plays a flute which is always placed on or given to his lips, as a constant configuration. It is similar to the construction āhitāgni: a person who maintains a sacrificial fire perpetually, though the order of words is reversed (adharārpita instead of arpitādhara). The lips are not compared to red bimba fruits since even without the sweetness of the pink color, just by the touch of the lips to the flute, the flute playing becomes attractive. Or, because of Kṛṣṇa’s contact with the flute at all times, the lips became angry and thus changed to a pale color. A great person is said to have hands hardened without work and feet which remain soft, though he walks on the road. But Kṛṣṇa’s fingers are described as soft in this verse. Giving up their hard aspect in comparison to other limbs, the fingers out of affection display their soft aspect. Out of envy the gopīs say “Those soft fingers should not touch the hard flute but rather touch our soft limbs.” Though he has a natural sweetness in his beauty, in playing the flute he shows particular sweetness by his special gestures. The great attractiveness of his flute playing is shown in this verse. O gopīs! Being very intelligent, you can understand this truth. But others cannot. Yatra means “when.” The usage indicates that the flute playing was the sole and inevitable cause of the heavenly women’s bewilderment. This applies to later verses also. The heavenly women were riding in the airplanes with devatās controlling the planes (siddhaiḥ). Or they were going (yāna) in the sky. Or they were the wives of siddhas who had planes in the sky. This means that they were not close to the Lord and did not live in Vṛndāvana. They were above, at a distance. Siddha refers to a type of devatā or to jīvanmuktas, persons who would be liberated. They were devoid of bhakti-rasa. Even they were astonished since they had never experienced this. The wives of these men became embarrassed by the arousal of love and then lost control. Or the siddhas also lost control. The wives were the chief experiencers of this rasa, and the men were secondary. Thus it is said “the women with the siddhas.” The sound entered through the ears to the heart (upadhārya). First they were astonished and then by the arousal of desire, the clothing became loose. Then they became embarrassed. Their hearts, their treasures, had been offered to the five arrows of Cupid (starting with bewilderment), because of fear of death. This means their hearts were controlled by Cupid. This should be kept somewhere privately. These two verses show the great attraction of the sound of the flute and Kṛṣṇa’s form and pastimes. Though everyone should be bewildered by the flute and his beauty, particularly the wives of the siddhas are mentioned. He has his left cheek resting on his left arm and looks upwards crookedly. They were strongly agitated with prema on thinking that he was looking at them. This should be understood in later verses also. The main persons described in the verses feel the effects of Kṛṣṇa’s presence. The details are explained with each pair of verse. The two verses are connected in meaning. They feel their desires will be fulfilled when they meet with Kṛṣṇa. The first of the two verses generally describes Kṛṣṇa’s beauty and pastimes. The second verse indicates that there will be great sweetness when they can meet with him, though he is independent. All verses are filled with colorful descriptions.

What to speak of the intelligent wives of the devatas, the inferior animals also became completely bewildered. One other gopi spoke. "This is more astonishing than the most astonishing thing. O young women (abalah -literally weak persons), whose vow of chastity to husband has become stolen by Krsna. On his chest like a cloud effulgent with a necklace like a string of flying crames, flashes the golden line of Laksmi, like stationary lightning. O gopis , the hot sun of your vows of chastity have been covered by that cloud of Krsna’s chest with its lightening and flying cranes. He makes you who are suffering become the object of ridicule for society (narma da). When does he do this? When he blows his flute (kujita venuh). Just on hearing the flute, your belts become loose. When you attain the state of unmada, you become the object of ridicule for all people. Krsna not only enchants you women, but also the animals and other entities. When the bulls, cows and forest animals chew on the grass, and the sound of the flute enters their bodies through their ears, they cannot swallow the grass, but remain stunned, listening to the flute. Their hearts are stolen by the sound of the flute. Their senses are so bewildered that they appear as if sleeping. The chewed grass remained in their mouths, not falling to the ground. They attain the sancari bhava called jadya. Breathing becomes weak, and they remain standing still, like painted pictures. Rather than being like statues, being like painted pictures gives more astonishment. It was as if a remarkable artist had painted pictures on the canvas of the sky. This gives rise to adbuta rasa.

Having come to the edge of the forest, he plays his flute in order to gather together all the cows and cowherds, to give joy to the forest inhabitants and to tell the people of Vraja following him to return home while comforting them. What to speak of the people, all the animals in the forest and Vraja become bewildered. Hanta expresses their astonishment. They then directly speak. “This is astonishing (citram).” O girls (abalāḥ—weak persons)! On hearing the sound of the flute, they have lost the power of their senses to speak because of the agitation caused by prema. Please listen! They give instructions. He has motionless lighting on his chest. This refers to the famous line of Lakṣmī on his chest, but they do not mention this since it is famous. It is astonishing because the lightning is motionless. His chest is compared to a cloud, which accompanies lightning. Worried that Lakṣmī is a competing lover, they become envious on seeing that she stays on his chest without moving away. Along with the clouds and lightning is the image of a crane, indicated by the words hāra (crane) and hāsa (white). This image of the cloud indicates the ability of the chest to relieve suffering. He is the son of Nanda (one who gives joy to the universe). Therefore by his nature he should give us bliss. He gives bliss to those suffering, like the cows and deer. He (ayam) has come out of his house now! Or, he can now be experienced by everyone. He plays the flute. Or, he has an attractive smile (hāra-hasaḥ). Or, his chest is charming and bright. The bulls kept in Vraja for pulling carts, and the black deer, the cows that go to the forest with him, and other animals also, cannot swallow, chew or spit out the grass in their mouths because their hearts have become attracted by the sound of the flute. They fear making any sound that will interrupt the flute. In holding the grass in their mouths they also say, “Do not play the flute any longer, for we will faint.” They appear to be sleeping. But sleeping people also move. No, they are like painted pictures of bulls and cows. A painted picture (likhita-citram) is more astonishing than an engraved image. The singular is used to indicate the group.

Having come to the edge of the forest, he plays his to give joy to the forest inhabitants, his assistants who have been separated from him by the night and to send the gopīs home following him and pained by separation. The bewilderment of the bulls and other animals of Vraja, by giving mercy to the people of Vraja with his flute, is joyfully described in two verses. Hanta expresses surprise. How astonishing (citra). O girls (abalāḥ)! This (abalāḥ also means weak) suggests that the gopīs have lost the power of their senses because of the disturbance of prema. He has stationary lightning on his chest. This is Lakṣmī, who is fickle and golden. His chest is compared to cloud. This is called adbhūta upamā. Lakṣmī on his chest is like stationary lightning on a cloud. This indicates special beauty. Or not knowing about this line who is Lakṁsī on his chest, they describe it as lightning. He is the son of Nanda. Nanda means he who gives joy to the world. Having his father’s nature, Kṛṣṇa also gives joy to the world. Ayam indicates that he is now leaving the house. The sound of his flute is also very close. Or nandasūnuḥ means the son who gives joy all of Vraja. Ayam indicates that everyone is directly experiencing him. He gives joy (narmadoḥ) to the suffering people. With his flute he announces his journey to the forest, where he will be during the day to the animals and birds of the forest and village, who were separated from him during the night. His flute comforts the gopīs. Kujita-venuḥ is in the past tense (he played his flute) to indicate that the bulls and others did not hear it immediately, since they were far away. It can be inferred that he had his left arm touching his left cheek as described in the previous verses. That is usually how he plays his flute.

Hanta can also express joy or lamentation. He has an attractive smile (hāra-hāsaḥ). He has Lakṣmī, whose special effulgence (vidyut) remains always (sthira) one his chest. He has a flute which sounds to give joy to suffering people. The sound of the flute in this verse can also indicate that it is not a song, just some sounds. All the animals in Vraja—the bulls, the kṛṣṇasāra deer, cows and one year old calves (males and females included in the words bulls and cows) react to the sound. The new calves are far from their mothers. Others being new, are kept within Vraja. These are all indicated here. The buffalos and boars also are similarly affected by the flute. The bulls are specifically mentioned because Kṛṣṇa has affection for them. The deer in Vraja are mentioned since they are friends with the other animals in Vraja. Or the deer are mentioned to represent all other animals. That is implied in the verse. The order of the animals is according to increasing excellence of attraction to the Lord. The deer are superior to the bulls and the cows are superior to the deer. They have more intelligence to relish the song of the flute. The assisting cowherds are not mentioned since they are always completely full of bliss. Their hearts are stolen by the playing (vādya) of the flute, without even seeing him. Thus his playing is mentioned again. They have mouthfuls of chewed grass in their mouths, which is neither swallowed nor spit out, because their hearts have been stolen. It is as if they fear making any noise when they hear the flute. Their ears are raised to hear the flute. In sleeping there is some movement. The example of a painted picture is given to indicate there is no movement at all. The word likhita is used so that the word citra does not mean simply “astonishing” but instead means picture. The depiction in the picture is exact. Or hearing the flute once in the distance, their hearts become agitated. By hearing it again they put their front feet over their ears to prevent the sound, fearing death by separation. They do not swallow food, to prevent the sound from entering within. Then they seem to faint by seeing him and constantly hearing the sound. This response is considered superior to that of the heavenly women.

"What to speak of the living creatures, even the unconscious entities become stunned on hearing the flute." One other gopi spoke. "When Mukunda, decorated with peacock feathers, or peacock feathers and flowers, imitating the appearance of wrestlers, or mocking them with his own brilliance, along with Balarama and the cowherd boys, calls the cows by name "Oh Kalindi, Gange, Sarasvati!" all the rivers such as Yamuna and Sarasvati and other rivers, though unconscious, take on consciousness and begin to think, "Oh, what good fortune we have! Krsna is calling us in order to bathe in our waters. With strong currents we will break the banks and flow towards him." Though desiring in this way, because of being stunned with bliss, with the stoppage of natural movement, currents became immobile. Another meaning of bhagna gati is as follows. The rivers’ progress in this life was stopped because they had not attained the happiness of contacting Krsna’s body, or because they became the laughing stock of other rivers. And next life’s goal was destroyed because of transgressing the vows of chastity to their husbands. What misfortune for these rivers! But they have a little good fortune. Desiring the dust from Krsna’s lotus feet carried to them by favorable breezes, they attain it, but even though attaining it, they cannot be satisfied, and desire more. Like us gopis who sometimes get Krsna’s association and sometimes are deprived of it, the rivers do not have bad fortune, but have only a little good fortune (abahu punya). The waves (arms) of the river tremble because of prema. Our arms also tremble with prema. Though the waters become solid (stimita apa) because of being stunned, again they liquefy. Our vision is clouded by the water of tears and thus we become motionless. And we also, because of being stopped by our mothers and fathers from meeting Krsna, have lost our goal in life, and because of the ridicule of others and the transgression of the rules of chastity, we have lost chances in future life also. Like the rivers, we also desire the dust from his lotus feet.

Having entered the forest, decorated with forest ornaments befitting a costumed person, he goes to rivers and lakes to give water to the cows and the rivers become bewildered with the appearance of special bhāvas because of the sound of his flute when he calls the cows. He who is skilful at playing his flute, Mukunda, calls the cows in a special way (sam), with affection, pronouncing each of their names. Sa-balaḥ indicates that Balarāma is in a secondary role. In order to increase the sound, he utilizes the sound of the flutes of Balarāma and others. By this sound, the rivers manifest emotions since they are also devoted to Kṛṣṇa. The combined sound of the flutes is used since the cows are far off and the cows are many. Because the sound carries far, the rivers also hear. O friends! You must believe that the rivers are like us! Or by mentioning friends, they indicate kinship and similarity to the rivers. Barhiṇa refers to peacock feathers. He was decorated with peacock feathers, bunches of flowers and tender leaves. In the sweetest voice he called out to the cows, “O Gaṅgā, Yamunā, Sarasvatī!” The rivers near Mathurā like Mānasa-gaṅgā, Yamunā, and Sarasvatī, thinking they are unqualified to attain Kṛṣṇa in another way, desire (spṛhayatīḥ) only a speck of dust from his feet. The spṛhayatīḥ indicates extreme desire according to the rule kartur īpsitataṁ karma: that which is most affected by the action of the agent is the object of the verb (accusative). The normal grammatical case should be dative, but because of the strong relation with the object, the accusative case is used. Because of that desire, the rivers become blocked because the flow stops. The word sarit means “to flow constantly.” Since the husband of the rivers is the ocean, by stopping their flow, the rivers indicate non-surrender to their husband, and show disregard for piety in this world and the next. In not attaining him, the rivers are unfortunate like us, having accrued scant piety since the rivers, like us, have rare opportunities of his association, though he performs pastimes there, because they are innumerable, of many similar and different types like our groups. First, with a desire for that dust, they seem to spread their trembling arms in prema, with their waves. Then, without waves, the water stops moving. The gopīs eyes are always moist but in his absence, their moistness stops (stimitāpaḥ). Or, since water is a limb of the rivers, in terms of the gopīs, stimitāpaḥ means their limbs have become stunned. In sequence, first the rivers hear the sound of flute, then the flow stops. Then only the waves move. Then the waves also stop. In terms of the gopīs, first they hear the sound of the flute, then they stop moving, then their arms trembling with desire to embrace him, and then they become stunned in sorrow on not attaining him. Then they desire only a little dust. They only desire that, without attaining him. It depends on the favorableness of the wind, which is readily available but we, like the rivers, are without sufficient pious acts. If this happens to even unconscious entities like the rivers, what fault do we have?

Having entered the forest, decorated with forest ornaments befitting a costumed person, he goes to rivers and lakes to give water to the cows and the rivers become bewildered with the appearance of special bhāvas because of the sound of his flute when he calls the cows. Sometimes he calls the cows without Balarāma and the cowherds, in order to give them happiness of hearing him personally. And sometimes he is with Balarāma and the cowherds. Or sometimes he dresses as a wrestler. When the rivers develop bhāva even when calling the cows with the boys and Balarāma. He seems to laugh at them boldly for not being fully dedicated to him, but to others also. Or when he calls the cows with the other boys, the rivers become stunned, what to speak of when he calls the cows by himself. This means that when he calls with the others, there is some restriction in the manifestation of sweetness. Or when he calls with the cowherd boys there arises sweetness from the manifestation of special affection for the devotees. He who plays the flute, who is skillful at playing the flute, calls the cows with great affection by their various names (sam-āhvayati). Mukunda means he who has teeth white like the kuṇḍa flowers. When he plays the flute to call the cows, he reveals the great beauty of his gleaming teeth. O friends! You should have faith like the rivers. Or this is related because of our friendship with the rivers, since we have similar natures. Or it is a call made by Lalitā to Rādhā to help her recover from the pain of prema. The rivers continue to flow in spite of all obstacles. Or this is an address to all rivers as friends. “O Gaṅgā! O Yamunā! O Sarasvatī!” The word saritaḥ then means the rivers around Mathurā such as Mānasa-gaṅgā, Yamunā and Sarasvatī. The rivers have broken their flow. They do not follow after their husband the ocean. Thus they ignore pious results in this life and the next. They desire just a particle (rajas) from his feet, brought by the wind. They desire dāsya from far off. This is their qualification for the dust. They desire the dust particle (rajas accusative for dative case). Like us, they do not have sufficient piety. Attaining it many times, they are not satisfied. They are similar to us. Though out of prema the flow of the rivers has stopped, by prema they tremble. Brahina-stavaka can mean bunches of peacock feathers. Or barhina can mean peacock feathers and stavaka can refer to bunches of flowers. Palāśaiḥ means leaves. Vai indicates a comparison. The rivers seem to desire the dust from his feet. The rivers have developed special bhāva for him. The wind as a messenger has brought the dust. The rivers become stunned (jāḍyam). This is a vyabhicārī bhāva. By the two descriptive elements concerning prema, trembling and being stunned, two sāttvika-bhāvas of śṛṅgara-rasa are indicated. Or the interrupted flow indicates the sāttvika-bhāva of being stunned. Vepatu is trembling, another sāttvika-bhāva. Stimitāpah indicates total lack of movement or fainting (moha). Or the rivers desire prema in the form of his foot dust brought by the wind. They desire to attain at trace of something related to him as mercy. By the desire for prema, with the arousal of bhāva in the rivers with waves of unconscious water, the rivers develop special symptoms described. Even when the causes of the rivers coming to this condition—seeing him and hearing his flute—do not occur, this condition still results, by the power of his form and the sound of the flute.

As these rivers, though unconscious entities, are eternally perfect, being the forms of devatas, it is natural that they should react in this way. But see how the immobile trees of low birth born due to previous karma relish the sound of the flute. In this way another group of gopis spoke. When Krsna, endowed with unchanging opulence (acala vibhuti), similar to Narayana (adi purusa iva), whose strength is described by the cowherd boys, wanders in the forest, being attracted by the souls there, all the creepers along with their husbands the trees, having directly seen Visnu who usually appears in the mind, weep tears in the form of streams of honey. They are just like grhastha vaisnavas who on hearing sankirtana offer their obeisances along with their wives. Being endowed with flowers and fruit, the creepers have sthayi bhava (fruit) along with sancari bhava of joy (flowers). Their completely bent branches indicate the anubhava of paying obeisances. As their hairs were standing on end in joy, they displayed the sattvika bhava of romanca. After describing the creepers and trees as householder devotees in the previous verse, the swans and cranes are described as detached atma ramas, worshiping Visnu on hearing the flute. Krsna wore attractive markings made from mineral clays (darsaniya tilaka). The phrase can also mean that Krsna was like tilaka, the most excellent among all beautiful things. Krsna wore a garland of five colors, with fragrant tulasi whose honey was sought by greedy bees, who hummed loudly because of their unrestricted madness. There may be an objection. Usually the lotus, jasmine and naga kesara are described as fragrant by ordinary people. Though the glories of tulasi are much greater, her fragrance is not highly praised. The objection is answered as follows. Ordinary people can sense a little of tulasi’s fragrance, but spiritually advanced persons can experience her fragrance as greater than that of the lotus. Since the bees had qualification for the flower garland on Krsna’s neck, they also could sense more fragrance in tulasi than even the spiritually advanced persons. However, only Krsna’s nostrils can smell the most sublime of fragrances. By the covering of Yogamaya, these fragrances cannot be perceived elsewhere. The special nature of tulasi is stated in the description of Vaikuntha. gandhe ’rcite tulasikabharanena tasya yasmins tapah sumanaso bahu manayanti Although flowering plants like the mandāra, kunda, kurabaka, utpala, campaka, arṇa, punnaga, nagakesara, bakula, lily and parijata are full of transcendental fragrance, they are still conscious of the austerities performed by tulasi, for tulasi is given special preference by the Lord, who garlands Himself with tulasi leaves. (SB 3.15.19) When Krsna thought about what pitch he would play on his flute, the bees would buzz and Krsna would play his flute according to that pitch. Respecting the song, when he placed his flute on his lower lip, the water birds left the lakes and, approaching Krsna, began to worship him—by seeing, hearing and thinking of him. They closed their eyes, indicating that they were tasting the rasa.

After having the cows drink the water and drinking the water himself, along with the cows he enters a mountainous area in the shade of beautiful trees. Letting the cows graze freely, he listens to his friends’ songs glorifying him, and then calls the cows with his flute since they have wandered far off because of his inattention. When he plays the flute, then, what to speak of the supreme worshipable rivers in the form of their presiding personalities, even the immobile trees in this place react in a similar fashion. That is explained in these two verses. His prowess is described in order (anu—varṇita), from birth pastimes filled with the affection of his mother and father, in the most excellent way (sam) -filled with prema--and with all details of the pastimes by friends who always accompany him (anu--caraiḥ) because of great friendship. Or anucāraiḥ can indicate that the friends gather together with the same mood. Or the word can indicate that the friends are next (anu) to him, each (anu) displaying his skill in describing Kṛṣṇa. His acts filled with power (vīrya) are praised completely (sam), with rasa, bhāva, ornaments, singing, rhythm, and gestures. He is an exceptional person (ādi-puruṣaḥ). Or, though he has fixed beauty and qualities, like Nārāyaṇa (ādi-puruṣaḥ), he wanders in the forest. This shows his extremely playful nature. The example of Nārāyaṇa is given to confirm his similar nature (not that he is the Lord). Though Kṛṣṇa is actually the supreme, situated above Nārāyaṇa, the gopīs use the word iva to indicate he is similar to Nārāyaṇa, since the gopīs’ natures are completely filled with sweetness like Kṛṣṇa’s and do not consider Kṛṣṇa’s powers. They use the word “immovable wealth” to indicate his natural wealth of sweetness which is unequalled and ever-increasing, without decrease (acala-bhūtiḥ). This increasing sweetness is then shown in the consequent words. He wanders in the forest because the cows have disappeared. But actually he eternally wanders in Vṛndāvana (acala-bhūtiḥ). He wanders in the uneven areas (giri-taṭeṣu), thus the cows become tired. Thus he calls them with his flute. As the crest jewel of cowherd (saḥ), he is skilful at calling them. When (yadā hi) he wanders in the forest (locative case vane is not used in vana-caraḥ for metrical reasons), then in the forest all the trees and creepers make known that Kṛṣṇa, who spreads everywhere (viṣṇum) or enters everyone, has appeared within themselves. The verb is in the feminine because the creepers, being women, represent the gopīs’ mood. The word iva in this case means “exactly” rather than “like.” He appears within them because his actions are under the control of their love. Another meaning is that he is similar (iva) to Nārāyaṇa. By this they make clear the previous example ādi-puruṣa iva. The creepers (feminine) and trees (masculine) are filled with fruits and flowers. They are endowed with all sādhanas and their results, as indicated by the following: yasyāsti bhaktir bhagavaty akiñcanā sarvair guṇais tatra samāsate surāḥ harāv abhaktasya kuto mahad-guṇā manorathenāsati dhāvato bahiḥ The devatās constantly dwell with all good qualities in that person who has pure bhakti for the Lord. There are no good qualities in the non-devotee who chases after temporary material objects with desire for material pleasure. SB 5.8.12 sarvaṁ mad-bhakti-yogena mad-bhakto labhate ’ñjasā svargāpavargaṁ mad-dhāma kathañcid yadi vāñchati All auspicious means of perfecting life are easily achieved by my devotee through bhakti. If somehow or other my devotee desires Svarga, liberation, or residence in my abode, he easily achieves such benedictions. SB 11.20.33 The bushes are bowing down, heavy with fruit. Having seen Kṛṣṇa, with satisfied eyes, they become full of bliss, bowing down like the four Kumāras. Honey flows as tears for the creepers and trees. Their sprouting buds are their hairs standing on end. This is famous in Gokula: gā gopakair anu-vanaṁ nayator udāra veṇu-svanaiḥ kala-padais tanu-bhṛtsu sakhyaḥ aspandanaṁ gati-matāṁ pulakas taruṇāṁ niryoga-pāśa-kṛta-lakṣaṇayor vicitram My dear friends! When Kṛṣṇa and Balarāma pass from forest to the forest with their cowherd friends, with their cows, carrying ropes to bind the cows’ rear legs at the time of milking, by the generous sound of his flute, among all living beings, moving things become inert and trees sprout shoots in ecstasy. This is most amazing. SB 10.21.19 The description also applies to the gopīs. In both cases, they are spread with prema. Though the word prema is in a particular compound, it applies to the other words in the verse by the power of its meaning. The trees shower honey or tears constantly and abundantly. Another version has sasṛjuḥ: the trees produced tears in a remarkable way. Or, the trees full of honey, produced prema. The trees spread prema to all onlookers by their actions. In the case of the trees and the gopīs, Kṛṣṇa has spread everywhere, and this is revealed in certain signs in the trees and gopīs. Previously wearing forest decorations, Kṛṣṇa performed suitable pastimes. Hearing songs he wandered in the forest. Now, he is described with a change of dress. Tired at noon, he takes a bath in a large lake, and then quickly puts on tilaka and garland with little decoration. Eating a picnic lunch with his friends, in a wide, elevated area, sitting on a stone slab under a huge tree, after sending the boys for gathering the cows, paying attention to the bees which have been attracted to his new garland and are his only association, he enjoys playing his flute. The gopīs describe this. What to speak of the trusting trees, hear what happened to the living birds. He wears tilaka made of gaurika which is always attractive. He wears a garland made of most attractive flowers and most fragrant tulasī, which attracts bees because of its honey. Since all the bees would completely cover him, they instead circle around as if intoxicated, with the strong ones pushing away the weaker ones so that they can come close to Kṛṣṇa. Because they are intoxicated they sing loudly. That is the special nature of their song. That song which they sing by their nature as bees is most attractive (abhīṣṭam) to Kṛṣṇa because it expresses extreme eagerness. Or, whatever song he desires from them, they sing with colorful rāgas. They have this astonishing nature in Vṛndāvana. In uttering the word “desired” the gopīs experience some hatred mixed with affection. Many things are dear or desirable to Kṛṣṇa, except us! Because the song is dear to him, he respects it. Just on starting to play a pleasurable song on his flute, all the birds—cranes, swans and cakravākas—dwelling in the lake, come to that song and approach (upāsata) Kṛṣṇa, famous for his attractive nature (harim), though they are most numerous and inclined to play in joy (te), or they are most fortunate. They then faint in bliss. With controlled minds they become silent with closed eyes. Oh (hanta)! The gopīs cry out in distress, on not attaining their desires. As with other words indicating the Lord, there is another meaning. The birds seem to be worshipping Viṣṇu with controlled minds.

When the cows begin to perspire, they leave the bank of the river on lower ground and proceed to an unseen place more elevated, covered with thick forest, grazing on grass with joy in front, he calls them with his flute. What to speak of the rivers with their presiding deities being attracted, the moving beings and even the immobile creepers and trees develop special bhāvas on hearing the flute. That is explained in two verses. His exploits (vīryānī) are described continuously or after calling the cows (anu) in a complete manner, expressing their affection for him through relating his pastimes, by his followers with whom he constantly moves (anucaraiḥ). He is like Nārāyaṇa (ādi-puruṣaḥ) and has fixed wealth. By wandering in the forest he experiences the highest joy. Or he has fixed beauty. He wanders in the forest (vanacaraḥ) since he cannot see the cows. He wanders on uneven ground, on the slopes of hills and becomes tired. Then he, the best of cowherds, expert on the flute (saḥ), calls using his flute. Even (hi) all the creepers and trees develop bliss, though they lack skill in love, being elements of the forest. Even the trees, though male, develop bhāva. Or he calls cows by name. These cows have names of creepers. O Malatīt! O Mallikā! O Vasanti! O Yuthikā! The trees and creepers, confusing the names, develop bhāva. The trees flow with honey. It is as if Viṣṇu who spreads everywhere was within them. This is only an analogy, since it would be inappropriate to conclude that Kṛṣṇa was the Lord. The trees and creepers became full of flowers and fruit. The external wealth is an external symptom of the presence of the Viṣṇu. Or because of the presence of Viṣnu, their bhāva is suitable, expressed as a wealth of fruits and flowers. Because of Viṣṇu’s presence the branches bow down. The branches are like hands holding ingredients of worship, bending low. Or the branches appear to be offering obeisances, with the tips of the branches bending low. The bark seems to burst, with hairs standing on end. Though the flow of honey is a symptom of prema, the hairs standing on end is an occasional condition, though natural to creepers. This indicates outstanding prema. The trees release honey profusely and constantly. Another version has sasṛjuḥ: they produced honey, in a remarkable manner. The boys expressed their affection for Kṛṣṇa by accompanying him and praising his actions. The creepers and trees out of envy desire to express their affection for the Lord and thus offer their fruits and flowers. Or how did the boys praise Kṛṣṇa? He was like Nārāyaṇa. But then, how to describe the joy of Gokula? It is much more. And this is because he has wealth or Lakṣmī at all times. Like a great treasure, Kṛṣṇa does not reveal his qualities publicly. Thus he is only “like” Nārāyaṇa. The creepers are mentioned first since they are female like the gopīs, with similar bhāvas. The bushes shower streams of honey or the bushes, having streams of honey, shower prema. They distribute prema to persons in the past and present by their condition. The following should be said. The devotees of Kṛṣṇa are endowed with wealth and birth, resembling flowers, and sons resembling fruits. Or they are endowed with karmas described in the Vedas dedicated to material gains, which resemble flowers and with material enjoyment in this and next life, resembling fruits. The bushes are similarly endowed with fruits and flowers but are endowed with humility and other good qualities. Thus they bow down along with their family members. They manifest the Lord who shines in the self, spreading as the unlimited cause externally and internally on hearing the song, though they try to hide this. They are unable to hide this because strong prema has appeared. Their hairs stand on end and they shed tears. Or just as those who shed tears of prema spread prema to the people, so the shrubs flowing with honey spread prema. The word iva indicates that they try to hide the manifestation of the Lord. As noon approaches, having entered the forest, Kṛṣṇa gives up the wrestler’s dress and dons special clothing. By the soft, sweet sound of his flute he enchants the birds inhabiting the water bodies, even though they are far away. This is explained in two verses. As the son of Nanda, best of devotees, he wears beautiful vaiṣṇava tilaka made of gaurika. The fragrance of the tulasī is the very nature of the tulasī. The bees sing loudly or with long notes. On hearing the song of the bees, he puts his flute to his lips out of joy, to imitate their song (ādriyan--respecting). Or without covering the bees’ song he plays the flute softly and sweetly. As soon as he places the flute on his lips, the song arises (sandhita-venuḥ). His lips are mentioned because they are most attractive. Sarasi is in the singular to represent a type. All the birds in the water such as carkavākas, cranes and swans become attracted to the song. These birds are mentioned because they inhabit the water. Sārasa also means things related to bhakti and haṁṣa means a person with high intelligence, like the swan that can separate milk from water. The birds are attracted to that song and approach (upāsata) Kṛṣṇa, famous for his attractive nature (harim). The birds are innumerable and inclined to play happily. Cāru (beautiful) can modify gītā or the verb. Thus they approach with movements of prema or worship him with devotion. The method of worship is described along with the characteristics of having their hearts stolen. The external and internal senses concentrate only on him (yatacittāḥ). The closed eyes represent all the knowledge senses or just the eyes. They stop speaking. This indicates that all the action senses have stopped functioning by destruction of agitation. Or the eyes represents all the limbs. Mental, physical and verbal actions all stop. Or by seeing his form, they develop the highest prema and they faint (yata-cittāḥ). The cranes living in the water like sages such as Saubhari, come to the Lord, thinking he is affectionate to the most fallen, on hearing the flute. They become intoxicated with the sound and are not in a fainting state in the beginning. Or on hearing the sweet song of the flute mixed with the humming of bees, thinking Kṛṣṇa favors entities with wings, they approach him with affection. Then, on seeing his beauty, they faint in prema. Or tracing out the thief by signs, they approach and see his deceitful behavior. Out of fear and dismay, they cannot speak or do anything. They close their eyes and remain by his side.

Having described the joy from hearing the flute of the conscious and unconscious entities of the earth, the gopis now describe the bliss of the unconscious entities in the sky. When Krsna, brilliant with garlands on his head and chest and ornaments in his ears, accompanied by a troop of cowherd boys (saha balah), situated himself on the side of a hill, and, blissful at the sound of his own flute, began to taste that sound, in order to fill the universe with that bliss, the clouds in the sky began to rumble gently, so that the sound would not disrupt the great cloud of Krsna. The thundering of the clouds was favorable to the flute sound, not disturbing it in any way. The cloud was a friend of Krsna, being similar with dark color and function--taking away the distress of the people of the world. The cloud began to sprinkle fine rain like tiny flowers, and in order to give shelter from the heat of the sun, made an umbrella from its own shadow. Pratapatra means that which delivers one ( trayate) from intense heat (pra tapa). On the form of the cloud called Krsna were his garland and earrings like flying cranes and his yellow dhoti like lightening. The song of the flute was a shower of nectar.

In the afternoon, decorated with special colorful garlands and dress, he wanders on plateaus of a mountain devoid of shade because the cows wander there. Desiring the shadow of clouds, he sings the mallāra-rāga along with Balarāma and other friends. By making echoes of the song on the mountain plateau, he makes the universe echo the song. By his will, with little effort, he makes the clouds come and by the rumbling sound of the clouds he becomes joyful and makes the universe rejoice. As devatās hidden by the clouds shower flowers, he plays in the shadow of the clouds. The gopīs with a vision of this pastime speak. What to speak of all the individuals mentioned, and all others, the whole universe becomes blissful. Though the clouds are unconscious, far way and movable by nature, they describe them, imagining that the clouds are friends with Kṛṣṇa because of form, color and activity. He is with Balarāma, but this statement indicates he is accompanied by Balarāma and other friends. He is pleasing with his garland and flower crown. He goes to the flat areas on the mountains, mainly Govardhana. The plateaus are praiseworthy because they give pleasure. This is indicated by the root meaning of the word sānu (plateau), meaning “to give.” Govardhana also is praised since it is the support for the earth (kṣiti-bhṛt). O women of Vraja (vraja-devyaḥ)! You are endowed with special charm (devya) among all the residents of Vraja who are endowed with fortune desired by the most exalted devatās. This indicates the superior intelligence of the gopīs. Therefore you can understand the nature of the flute’s song. When Kṛṣṇa, his associates and the universe become joyful, the cloud also desire to rumble loudly in joy but becomes worried of committing offense by overpowering the sound of the flute with his rumbling, as if trying to surpass Kṛṣṇa, who is the greatest. He thus rumbles very softly to nourish the song of the flute. Thinking that Kṛṣṇa is tired, he tries to please Kṛṣṇa. The cloud showers flowers on Kṛṣṇa, who is his friend because of being the same color. Anugarjati in the present tense indicates that the cloud continually rumbles. Abhyavarṣat in the past tense indicates an act of friendship which was fixed. He makes an umbrella by the shade of his cloud form. The garland is made of cut petals of differently colored flowers made into finer and finer strings. He is charming with garlands, head ornaments and ear ornaments. Or, his head ornament is made charming by his garland. He gives joy (uparambhati) to the universe. Parasmaipada form of the verb is poetic license. The phrase manda-mandam can also be joined to the verb abhyavarṣat. The cloud showered flowers gently. Sumanobhiḥ can also mean that he showered Kṛṣṇa with splendid mentality. The cloud serve in three ways: by giving shade with his body, by rumbling gently with his voice and by his pleasing mentality.

At noon on top of the plateau, he gives up his previous dress and dons a dress with many colorful garlands. He joyfully plays his flute and gives joy to the world. Understanding that the sound is superior to his own rumbling, a joyful cloud serves him as a friend, thinking of serving the whole world. Two verses describe this. To make the sound spread through the universe, he plays his flute with Balarāma (saha-balaḥ). Or he plays his flute with some strength (saha-balaḥ). He has a garland on his head as play or is beautiful with a garland on his head. This is a cause of joy. He gives joy on plateaus of Govardhana, which protects or nourishes the earth (kṣiti-bhṛtaḥ). Or he is situated on plateaus of various mountains nearby. The plural is used to indicate that the sound of the flute echoes on various plateaus. The sound on the plateaus also nourishes the earth (kśiti-bhṛtaḥ). O women most worthy of worship in Vraja (vraja-devyaḥ). Or O women dear to Kṛṣṇa, the lord of Vraja! The sound is actually for you. Or O women, inclined to play in Vraja! You are deprived of these various pastimes. He gives joy to the world because he manifests special joy (jāta-harṣaḥ). The cloud desires to rumble loudly in joy also but worries about surpassing Kṛṣṇa since the cloud is above him. Or with his sound the cloud will drown out the sound of the flute and create offense. The cloud thinks of giving comfort to him. He thinks of Kṛṣṇa as a friend, since he is the same color or thinks of Kṛṣṇa as having a good heart in spite of his offense. Or by giving joy to the world he is our friend giving unmotivated benefit. Therefore the cloud showered flowers everywhere. Or he has charm with his earrings and garland. Situated on plateaus he gives joy to Govardhana. The cloud rumbles softly, as if afraid of offending a great soul. Factually, following Kṛṣṇa’s desire to spread the sound throughout the universe, the cloud rumbles after the flute sound, mixing with it, to make the flute sound louder. Or the cloud fears committing offense against Govardhana by expressing his joy, or by covering the flute sound with his rumbling, since the flute sounds was supposed to give them joy. Or the cloud fears committing offense to the flute, a great devotee. The cloud shows flowers very softly (manda-mandam) on his friend. The cloud serves with his pleasant mental functions (sumanobhiḥ), with his body by providing shade and by his voice, with soft rumbling.

In the afternoon, the gopis, thinking of how to get continuous sight of Krsna, went to Mother Yasoda’s house. They mixed with the elders, young girls and children, and talked about Krsna’s qualities and activities. Yasoda listened and then spoke. In order to console Yasoda, who was feeling separation from her son and also appease their own minds, they began describing to her the power of the flute’s song. O Yasoda, when your son who is skilful at herding the cows, caring for them and milking them, holds the flute to his red lips and plays the various jatis (18 chief ones) numbering in the thousands, which were self taught, all the devatas including Indra along with Upendra Agni and others, Siva along with Katyayani, Kartikya and Ganesa, and Brahma along with the four kumaras, Narada and others, as well as composers of songs, hear that song, and tasting the sweetness of the song, bow down their shoulders and minds. But they cannot comprehend the raga and tala. They become completely bewildered by the sweetness of the song and lose their sense of judgement. If the devatas become bewildered what can we say of ordinary mortals? Your son bewilders the whole universe.

A devoted group of listeners is addressed. Yaśodā, included in the group, is also praised during the narration of pastimes. The gopīs speak of the flute with its special effects even influencing her. When she worries about her son returning late when the afternoon passes, the gopīs, while worrying why he is late, console her and encourage her by describing his absorption in skilful, astonishing pastimes, while hiding their own rasa with him (Vatsalya-rasa and madhurya-rasa do not mix well). By desiring that he return quickly they also secretly hope to extinguish their own absorption in him. But they hide their sentiments for him by describing him clearly as if they were ordinary people. He is skilful at cowherd activities. By these general activities he attracts everyone. Most attractive with the flute placed on his red lips, he plays svāra-jātis (tunes) in which he has invented on his own many ways of playing the flute. He has produced many ways of playing the flute by his own invention using the notes. Or he has invented his own svāra-jātis which are plentiful in his music. O Yaśodā, respected by the universe (sati)! Because of your nature, it is natural to your son. This verse continues from the previous verse which describes how the flute gives joy to the universe. The devatās hear this sound while situated in their abodes. That sounds ends up spreading everywhere. The best devatās who have endowed with great musical knowledge from the Gandharvas, who are skilful at music themselves (kavayaḥ); Indra, along with the loka-pālas; Śiva, and his family of Durgā, Skanda and Ganeśa; and Brahmā and his associates like the Kumāras, Nārada, the seven sages and the Prajāpatis--they all listen because of the unique sound of his flute playing. First Indra and his associates are mentioned because they hear with their external senses. Though Śiva is situated on Kailaśa he hears next because of his great concentration. Since Brahmā is furthest away, he is mentioned last. Their hearts become submissive on hearing since they cannot understand this sound. Even one note is completely different from anything they have heard. Because of the sweetness of the sound of the flute, they become faint-hearted (kaśmalam). Savanaśaḥ means the low, middle and high pitches, or it can mean “repeatedly hearing.” Aniścita-tattvam can mean they wonder, “What is this song from a flute, so astonishingly sweet? What is this most astonishing sound which has never previously been heard?” or “What is this magical sound which completely bewilders?” By this bewilderment, becoming completely absorbed in that sound, they forget everything (kaśmalam yayuḥ).

As the gopīs are singing suddenly Yaśodā comes. Or as they sing they think of her great devotion to Kṛṣṇa in their minds and call out to her. In describing his excellence, they show how Brahmā and other powerful, wise persons become bewildered by the sound of this flute and his pastimes, experiences as most astonishing. Two verses describe this. He is skillful at playing with cowherds, while herding and not herding the cows. When he places the flute on his lip and produces notes, since the cowherds relish the flute playing, he gives teachings in an extraordinary manner, as the crest jewel of cowherds. Parāśara says gopa-venu-pravādakau: Kṛṣṇa and Balarāma play cowherd flutes. (Viṣṇu Purāṇa) Playing the flute is sometimes done to show skill in playing as a cowherd. Or at noon, it is done to give joy to the universe. He places the flute on his red lower lip. This indicates his sweetness and beauty. In describing his excellence to his mother, the gopīs hide their bhāva. To satisfy Yaśodā, they compare his lips to the bimba fruit. O Yaśodā, worshipped by the world (sati)! This is quite suitable for your son. Situated in their own places, the devatās hear the sound. As devatāsm, they are familiar with a wealth of songs sung by Gandharvas and others. Indra, Śiva and Brahmā, in order of importance, hear. Brahmā gives birth to Śiva. Others such as the loka-pālas are also present. Or Garuḍa and other associates of the Lord are present. Their hearts are submissive (ānata). They become bewildered (kaśmalam). They are not able to determine the notes since they were different. Or the nature of the flute’s sound is bewildering. Or in playing the flute he produces plentiful notes, putting the flute to his lip. Coming close, the devatās listen. The gopīs attempt to increase Yaśodā’s belief in his attractive nature, with the possibility of seeing him. As devatās, Brahmā and others have great intelligence. The best yogīs (kavayaḥ) like the Kumāras also bow their hearts and shoulders. Coming from their places, seeing Kṛṣṇa, they show humility in front of him. They are not able to understand with certainty about their own selves (aniścita-tattvāḥ) because the flute has stolen their hearts. Or they are not certain if Brahman is the only truth. Or they cannot discern what is real because of his flute playing, for his flute playing is endowed with the highest bliss. Or because the flute playing is so attractive they forget about the bliss of Brahman. “What is this song from a flute, so astonishingly sweet? What is this most astonishing sound which has never previously been heard?” or “What is this magical sound which completely bewilders?” By this bewilderment, becoming completely absorbed in that sound, they forget everything (kaśmalam yayuḥ).

One gopi of another group then spoke of her personal bewilderment on hearing the flute to mother Yasoda. When Krsna, with elephant gait, walks around to relieve the earth of the pain of the cows’ hooves striking the ground by the touch of his feet which resemble lotus petals, which are marked with symbols like the flag and conch, we gopis whose hearts are agitated with lust through his glances become stunned like the trees, and are not aware of our clothing or hair, which all become loose without our noticing it. Though Krsna has relieved the earth of pain, he has produced pain in us by his lotus eyed glances. This is our misfortune.

Another devoted group, holding secret rasa, produced internally by pastimes, is addressed. After passing the third yāma of the day in talking about Kṛṣṇa, when he does not arrive, some of the gopīs, with anxious hearts, on the pretext of picking flowers, go to look for him when it is time for the cows to return. They praise seeing him in the forest at the end of the day. Overcome by emotion they say, “O dear friends! Enough of speaking of others becoming bewildered. Hear about our own condition.” They speak this verse. By using the word nija (his very own), the unusual nature of his feet is indicated. The plural (dalaiḥ) is used instead of the dual out of great respect, or to express the uncommon beauty of each foot print. Those feet have beautiful, astonishing marks of the flag, thunderbolt, lotus and goad. Or the feet are beautiful and astonishing with the marks of the flag, thunderbolt, lotus and goad. These marks also stand for the other famous marks like the cakra and the less famous marks like the octagon. With those feet he relieved the land of Vraja, of the pain caused by the hooves of the cows since he herds the cows there because of the grass. When the Lord follows the cows, his feet naturally touch the earth, and the earth then sprouts new grass and shoots immediately. Pasturing the unlimited cows is a daily occurrence. He moves slowly with the grace of an elephant since he is playing his flute. If he moved quickly he could not play the flute. Though he naturally moves in this manner, they mention this because of its special beauty at this time. It is especially attractive to us. He wanders here and there. The gopīs minds become agitated by his playful glance at them which enter within them. They express their confused state. They become stunned, motionless like trees. Or, when he moves about, we become motionless. By his cleverness we become dumbfounded. Opposite result is shown. This shows his power to bewilder and their gopīs pitiful condition. They do not know that their dresses and hair have come undone. The latter phrase “have come undone” is not mentioned out of embarrassment. Our hair, what to speak of our clothing, becomes loose. Vā indicates both.

Because of the sudden statement directed to Yaśodā, there is no regard for a sequence in time in reciting the verses. But his flute playing at noon can be inferred in the present verse. In great pain, the gopīs display their bewilderment because of great pain at the moment. That is expressed in two verses. He is not wearing shoes and there are many footprints. His feet are like lotus petals wide at the front and narrow at the back, soft and pink. Instead of dalaiḥ some versions have talaiḥ. The plural indicates many footprints or indicates respect. The footprints (and feet) have extraordinary markings. Śaṅkha and cakra marks are not mentioned since they are very famous on Viṣṇu’s feet. By those marks he removes the pain of hooves treading on the land of Govardhana and Vṛndāvana. This is because his lotus feet by their nature remove all pain, the beautiful foot prints cover the hoof marks and remove all pain. Kṛṣṇa moves slowly and gracefully like the king of the elephants, since he is playing the flute. Though he does this to bewilder the gopīs, he also does this to avoid boldness. Actually there is no injuring to the earth by the cows’ hooves, only an appearance of marks, since the cows are related to the Lord himself. However the gopīs do not mention this since they lack reflective powers, because of their unsatisfied desires. Or the injuries to the earth are from the hooves of Dhenuka and Ariṣṭāsura. Kṛṣṇa goes from Vraja to the forest (vrajati) or he moves here and there. Because of him (tena), our minds become agitated by his beautiful or playful (savilāsa) glance. We cannot prevent this. Though he may glance for some other purpose, they develop the greatest bewilderment because their desire is aroused. Thus step by step they reveal his beauty, pastimes and sweetness. They become like trees (kuja), unable to move. Or because of agitation by his glance, and becoming stunned we are not aware that our clothing has become loose. Or after becoming stunned, by his glance we are not aware that our clothing has become loose. When he comes, we do not show skill and become foolish. This opposite result shows his great attractiveness and their humble position. We do not know that our hair has come undone and our clothing has become loose. Vā means both or “even.” Though in bewilderment one loses awareness of everything related to the body, particularly the women would usually be aware of their cloth. In the previous pairs of verses, each verse is a separate statement, but in this verse, the statement continues into the second verse. Because he comes they become stunned. This means that because of his direct association they become stunned. Yaśodā went away to do chores or because of doubled suffering on hearing about the excellence of her son. When they became free of worry that she would return, out of great pain, they speak among themselves about their bewilderment in relation to their description of Brahmā’s bewilderment. The word vicitra indicates other astonishing marks of beauty (lalāmaiḥ) on his feet, like the barley corn and cakra. First they became stunned and then because of bewilderment, they were not aware of their clothing become loose.

This verse describes the bewilderment of the deer in the forest, similar to the bewilderment of the gopis in the village, on hear the flute. Krsna had a string of one hundred and eight beads of four different colors-white, red, black and yellow, twenty-five of each color. As well there were eight other beads to count cows of mixed color and different shaped heads. He would hold the beads in his hand and count the cows. Though the number of cows was unlimited, Krsna counted one hundred and eight different groups of cows using the beads. Calling "Dhavali" the dhavali groups of cows wound come. In that way, he called out for Hamsa, Ganga, mukti, (white). Similarly twenty four other groups would come. He would call for Aruna, Kumkuma, Sarasvati (red) , Syamala, Dhumala, Yamuna (black), Pita, Pingala, Haritalika (yellow) . and Citrika, Citratilaka, Dirgha tilaka, mangala tilaka (mixed), and mrdanga and simha mukhi. Calling all the cows in this way, he would not forget even one of them. He also wore a fragrant tulasi garland. When he placed his arm on a friend’s shoulder and began to play his flute, that sound stole the hearts of the female Krsna sara deer. They began to follow after Krsna, because they had tasted the qualities of Krsna, the ocean of all qualities. They gave up attachment to house and food, just as we gopis. We are in the same state as the deer.

In the later afternoon, wearing a different dress, by playing his flute he gathers the cows in one place to count them and return home. “Even the deer are attracted to the flute, what to speak of us!” That is expressed in this verse. He holds a string of jewels and counts the cows. He calls out the names of the leaders of the groups of cows using his flute. He counts the groups of cows using different colored beads. Though the numbers of cows is unlimited (SB 10.12.3), he counts the group leaders or, he shows his skill by counting them all, for the Lord is more intelligent than the most intelligent. He wears a garland made of tulasī leaves endowed with the fragrance of his beloved. Or, imagining that the bees are singing in the garland, they speak with hatred. He is singing along with the garland. What audacity of the garland! He casually places his left or right arm (above the elbow) on the shoulder of a friends situated slightly lower. That friend is so fortunate to have prema, whereas we are not. He plays the flute in a special so that our hearts are stolen by that loud sound. The black deer’s wives approach. Though they are wives of the black deer which purifies the area, they approach Kṛṣṇa. Gṛhiṇyaḥ means wives or dear most women. They have given up their husbands and approach or take shelter of Kṛṣṇa, because he is an ocean of qualities (guṇa-gaṇārṇam). Another meaning is that they are Kṛṣṇa’s wives (krṣṇa-gṛhiṇyaḥ). They have given up all desires concerning their houses (vimukta-gṛhāśāḥ). Or, they have given up their houses (husbands and relatives) and eating food (āśāḥ). They give up interest in their houses like the gopīs. By mentioned gopīkā instead of “we”, they indicate that they are similar to Kṛṣṇa as cowherd people, whereas the deer, though not very similar, are still attracted to Kṛṣṇa. Or, mentioning the word gopīkā nourishes the rasa more than the word vayam (we), since it is an indirect expression.

We devoted gopīs have bewilderment because of his actions and beauty, but from far off event the female animals become bewildered by his fragrance and song. Or following the sequence, in the afternoon as the time to return home approaches, putting on new clothing, when he plays his flute to call the cows even the female deer become bewildered, what to speak of us gopis. Two verses describe this. He counts the cows and bulls using pearls on rounding them up to take them back to Vraja. Though there are other animals, he counts the cows since he has special affection for them. kṛṣṇa-vatsair asaṅkhyātair yūthī-kṛtya sva-vatsakān cārayanto ’rbha-līlābhir vijahrus tatra tatra ha Along with Kṛṣṇa’s asaṅkhya of calves, they each put their calves in groups and, while herding them, sported in the forest in a playful spirit. SB 10.12.3 The calves are unlimited. The cows and other animals are also unlimited. Thus it is impossible to count them. However it is possible to count according to group divisions. Or though the cows are unlimited, the cowherds must count and gather them as their duty. The garland is made of tulasī leaves emitting fragrance of the beloved. Since animals have a strong sense of smell, the does approach because of smelling the fragrance from far off. Kṛṣṇa has his left arm on the shoulder of a friend. This shows affection and a place for pastimes. In playing his flute he generally assumes a position with three bends. His left arm is embracing his friend around his neck. That friend has prema and is most fortunate, whereas we are not. He has finished playing his flute at this time. Kvanita indicates the flute’s natural ability to make sounds. Rava indicates making a slight sound once. The sound does not depend on making songs with varieties of sweet notes. By its nature the sound is always sweet but in a song the sweetness becomes perfect. Thus the verse says agayata (he sings). Or first he sings and then plays the flute with special rasa. Their hearts are endowed with that sound or tricked by that sound otherwise they would not stand there with bewildered hearts. The does are there with their husbands (kṛṣṇa-gṛhiṇyaḥ). But they leave their husbands and become followers of Kṛṣṇa, since he is an ocean of all qualities. They approach or follow him (anugatā). As a pun, they have become Kṛṣṇa’s wives (kṛṣṇa-gṛhiṇyaḥ). They, like us, are completely free of desires for things related to the house (vimukta). Or they have attained freedom from the house. Bewildered by his clothing, pastimes and flute, following him, endowed with unlimited qualities, giving up unqualified husbands, the does have attained him as a husband, without desire for house, body, children or wealth. Pale from separation, we should do the same. They do not mentioned “we” but cowherd women to indicate that they are of the same type as Kṛṣṇa the cowherd. Or using the word gopikāḥ nourishes rasa more than the word “we.” Gopikā also means “those who protect their bodies.” Otherwise, out of separation they would die. Or the does are worthy of following (anugatya-hariṇyaḥ), but he causes such bewilderment that they follow him instead of his following them.

When the gopis who had assembled at Yasoda’s house saw that she was disturbed because Krsna was late in coming, they pacified her by giving reasons for his lateness. To relieve himself of fatigue, Krsna has bathed in the Yamuna and then sat on the bank. In order to please his friends, who were so enthusiastic, he dressed himself comically with kunda flower garlands. As he walked on the bank of the river, the wind began to blow gently and pleasantly. Krsna gave joy to his friends by giving and receiving jokes and defeating their jests. O sinless one, you have not committed any sins previously or in this life, by which danger could come to your son. So why do you uselessly worry about danger from demons if his is a little late? He is the son of Nanda, who is famous as the jewel of piety, and is the son (vatsa object of affection ) of you, endowed with the most spotless fame (yasoda). We see that children fall into danger only when the parents have bad karma. Therefore there is no danger for your son. Listen as we tell you the reason for his being late as we have heard it from his friends. The wind, so fragrant and cool from touching the sandalwood trees of Malaya Mountain that it only blows very slowly, began to blow pleasantly on your son. The upadevatas, gandharvas, began to worshipping him in all ways including playing musical instruments as they praised his qualities. To accept this worship he has become late. Those of quality delight is seeing the person of quality. Therefore there is no need to worry for your son, for if they are worshipping him, it is your good fortune.

They describe another pastime performed while gathering the cows as described previously, in a group including Yaśodā. He gathers the cows together after taking the cows to the water a second time. Realizing the pastime personally, when the time of arrival has passed and Yaśodā begins suffering, they approach her to comfort her with news that Kṛṣṇa is coming. This is expressed in six verses. From mention of the kunda flowers and gentle breeze it is inferred that it is Kārtika month. These flowers do not bloom in the spring, and the wind during winter and the dewy season is harsh. They comfort Yaśodā with this description since it shows that his pastimes give happiness to all and Kṛṣṇa receives comfort from everyone’s service. They explain the reason for his late arrival in this verse. He has gone to the Yamunā where he plays in the water and then plays on the bank. He needs to bathe because of fatigue in wandering all day. After that he dons a garland of kunda flowers, since it would be uncomfortable to wear a moist garland which was worn while in the water. They indicate the cause of his late arrival by describing that his pastimes gives happiness to all others. He is surrounded by friends and cows. This is to be expected since he and Balarāma are sons of Nanda. Nanda means “one who gives bliss to all.” O Yaśodā, because of you, no one has any suffering (anaghe)! He is your son and you experience only bliss (tava vatsaḥ). He is the object of the greatest affection like a calf (vatsa). Therefore it is not wrong to be anxious about him. He is surrounded by the boys and calves because they have all become motionless, satisfied with drinking water. And he gives joy to them by his jokes and pranks because they are affectionate as friends (praṇayinām). He wears a dress consisting of various ornaments like flower crowns, which gives joy or are a festival of pastimes (kautuka-veśaḥ). Thus it is understood that he has changed his dress. A soft wind blows in a pleasing manner (anukūlam). Or the wind blows from behind, favorable for his going. The wind is his assistant in Kṛṣṇa’s independent pastimes. The word manda (gentle) also suggests the wind’s assistance. The slow wind fans him or the wind blows near (upa) him. This means wherever he goes, wind also goes. It honors him with the touch of the south wind (malayaja), arising in the evening. Since it usually arises in the autumn season, the wind is here making favorable arrangements. And as well the wind blows favorably from the back. All the devatās like Gandharvas worship him with music. The words vandinaḥ and gītā indicate that they praise Kṛṣṇa by singing. The offerings (bali) and music accompany their songs. The offerings consist of attractive cloth, ornaments and foods. Because songs are most prominent, the Gandharvas are present according to Śrīdhara Svāmī. Because they surround Kṛṣṇa, he becomes late. But he will come quickly since the wind and the devatās are creating auspiciousness for his arrival.

Yaśodā returns, desiring to hear about the excellence of her son again, after recovering. Or the gopīs approach her to help her recover by giving news of her son’s return since she is suffering in separation. This is described in two verses. He is decorated with for joyful playing (kautuka) with jasmines in his hair. It is understood that he has changed his clothing. He is surrounded by a wealth of cows and cowherds, unlike any other person. On returning home in the afternoon, the cowherds are tired from playing all day. To give them relief and to have the cows drink their last water, he goes to the Yamunā. To give bliss to both parents they say “son of Nanda” and “your son.” Tava vatsaḥ (your son) indicates her great affection (vātsalya). O Yaśodā, with no knowledge of any suffering (anaghe) or who is free of suffering, because of your great affection! This is in comparison to others. In time, he will return, and you and we shall be free of suffering. This is humility natural to great prema. He is playing the water or on the bank of the Yamunā because he jokes with his friends filled with affection. These are causes of his delay in entering Vraja. The words sahacarā (persons with him) indicates some hatred on their part. The wind blows affectionately (anukūlam). The slow (manda) breeze suggests it is heavily endowed with fragrance to give joy to the suffering gopīs. It blows from the south (malayajah), being gentle, fragrant and cool. The Vidyādharas and all other devatās surround him. Singing should be first, though the order mentioned has instrumental music first. This could be a writing error. There is a version with gīta-vādya. He appears (veśaḥ) joyful (kautuka) with jasmine garlands. For playing in the dark water of the Yamunā he changes to cloth white with jasmine garlands. He is a son who gives joy (nanda-sutaḥ). Like a cow shows affection to its new born calf, Yaśodā is affection to Kṛṣṇa (vatsaḥ). The wind blows near (upavāti). It is fragrant with a touch of sandalwood (malayaja), coming from the south. This indicates spring season, which has jasmines. Vṛndāvana is endowed with all seasons. Or the wind blows cool or warm depending on the pastimes in the rāsa dance, just as the full moon always shines during the rāsa dance. By the singing everything is adjusted properly on all days. The vandis of Gokula came first. They and the devatās surround Kṛṣṇa, performing their services. They also offer scents, flowers, cloth and ornaments.

"Seeing that my son has not come back at the end of twilight, I will now kill myself." Fearing this response from Mother Yasoda, the gopis then gave reasons why Krsna would come quickly in order to calm her. Being affectionate to the bulls tied up in Vraja, remembering this suffering in separation from him, he has ignored the worship of the upadevatas, and is coming quickly. One cannot say that for a cowherd boy the skilful singing of the lowly gandharvas is more attractive than giving grass to the cows or seeing, tickly or touching their bodies. Krsna lifted Govardhana Hill to protect the cows. From this we see he has great affection for the cows. Though the gandharvas may have heaps of qualities, Krsna has not a morsel of affection for them. "If that is so, then he would have been here immediately." Thus the gopis give the reason for his lateness. "Brahma, Siva and others are now offering their respects along the path. The devatas, coming from their houses and situating themselves close by in the sky, watch Krsna all day in bliss. When Krsna returns in the evening, they also return to their houses, but not before descending from the sky to earth to offer their respects to his lotus feet to obtain his mercy. What can he do in this circumstance? This request from the devatas is a greater cause of his lateness. But do you not see the good fortune in the devatas’ offering their respects to your son’s feet? Why do you lament?" Yasoda with choked voice said, "O young women, please go quickly to the roof and see how far my son is distant." Going to the roof, the gopis then spoke to her in loud voices. "Stopping all the cows in one place with the sound of his flute, to fulfill the desires of well wishers, Krsna is now coming. He is brilliant in his fatigue, a festival for the eyes, with garland covered by dust raised by the cows’ hooves." Whatever was said for the benefit of Mother Yasoda was also for the benefit of other gopis, to whom they threw indirect glances. Though dust is mentioned in relation to the garland, it did not exist in other places, because the gopis were diligent to clean all the dust using pieces of cloth. There was some dust on the garland because, though the gopis cleaned the garland, they feared breaking the petals to remove the dust completely. Even if it were a garland of jewels, or a new garland protected by cloth offered by servants, Krsna would were no other garland. Krsna was particular to show those dusty garlands on his neck which were made by the gopis with their own hands and sent to him while he was in the forest. Devaki in this verse means Yasoda. Krsna, the moon, was born from the milk ocean womb of Yasoda. According to the Ganodesa dipika, quoting Adi Purana, Nanda’s wife had two names: Devaki and Yasoda.

Eagerly the gopīs climb to the roof tops to see him. That is shown in this verse. To describe his arrival they first indicate with intense joy the cause of his coming—his outstanding mercy. He is affectionate to the cows of Vraja. They give an example. He is affectionate because (yat) he lifted Govardhana to protect the cows though his body is very soft. They use the present tense (dhraḥ) because this pastime is always present in their vision because of their feelings of gratitude. By this they indicate to Yaśodā that he will protect her from sorrow on this day also. They then describe his coming. The devatās worship him on the path, since they will not do so within Vraja. The present tense is used (vandyamānaḥ) to indicate that they never stop worshipping him. They do this though he does not desire it, since he feels reserved and shy. Ah, see his excellent qualities! He plays his flute with rāga and rhythm to gather the cows and to inform the people of Vraja that he is coming. He is praised by the boys who make gestures according to the song telling stories like the killing of Pūtanā. Or he is praised for the activities he performed that day. He creates joy for all eyes by the natural beauty of drops of perspiration on his limbs, or by his limbs radiating fatigue. What to speak of our eyes then! There is such beauty in seeing him. The garland is covered with dust raised by the cows’ hooves, appearing like pollen. By mentioning the dust on his garland it is understood there is no dust on his limbs. His friends use their upper cloths to brush way constantly the dust from his limbs. But still the dust is clinging to his garland. Or he forbids them from wiping away the dust for fear that the petals of the garland which has been offered by a dear friend will break. Or, though they point out details like dust from far away, out of prema because of his coming they have this vision of him (which may not be completely accurate). Previously they hinted at the cause of his coming and now they state it directly. He has a desire to fulfill the wishes of his friends. Otherwise he would not be happy in the previously described activities in the forest. The gopīs mention friends. If he wants to give happiness to all his friends, he must want to give us happiness! They point him out with their fingers. There he is (eṣaḥ)! The word devakī here means Yaśodā (since that is her other name). They use this name out of great respect. Since Nanda is a king he is called deva or devaka. His wife is called Devakī. With the intention of pacifying her they refer to her as his mother as previously with tava sutaḥ satī (verse 14) and nanda-sunuḥ (verse 4 and 21). If would be contradictory for the gopīs say that Kṛṣṇa was born from the womb of Devakī, wife of Vasudeva instead of Yaśodā, in her presence. In the next verse in another gathering the phrase yadu-patiḥ, if it means the lord of the Vṛṣṇis, would also produce indifference instead of devotion. Therefore Devakī is a name of Yaśodā. Similarly another name of Merudevī is Sudevī. It is also said dva nāmnī nanda bhāryāyā yaśodā devakī ca: Nanda’s wife is called Yaśodā and Devakī. Kṛṣṇa is called the moon (lord of the stars) since takes away suffering just as the moon takes away the heat of the day. His friends are like the stars. Kṛṣṇa being born in the womb of Yaśodā, which is most pure, made of viśuddha-sattva, is like the moon being born from the Milk Ocean.

The gopīs speak among themselves as previously while Yaśodā becomes absorbed in preparing a meal for Kṛṣṇa. The devatās worship his feet on the path since they do not get this opportunity when he enters Vraja. Present tense is used to indicate that they do not stop the worship. The descriptions given in the verses occur daily with Kṛṣṇa and his friends, or going there on different occasions they see him directly. The wealth of the cows are together since it is the end of the day. The word “wealth” is uttered with hatred because he is attached to herding the cows during the day (ignoring them). He plays the flute to gather the cows and to announce that he is coming to Vraja. His friends glorify him by reciting his pastimes such as killing Pūtanā or the pastimes of that particular day. Or they glorify him to remove the suffering they experience at night because of separation from him, just as the gopīs suffer separation during the day. He creates joy for the eyes of all, or for the gopīs. They do not mention themselves directly to avoid bold behavior on their part. The beauty of his fatigue consists of the perspiration on his face and his dried lips. Though it is possible that the dust from buffalos or other animals could also settle on his garland, here it refers to the dust that came from cows’ hooves, since they are closest to him. That dust is considered auspicious. Since it is obvious, they do not mention the cows directly. The garland alone is mentioned but it is inferred that his locks of hair also were covered with dust. He desires to fulfill the wishes of all his friends (gopīs are not specifically mentioned). As he has come close they point to him with their fingers (eṣaḥ). He appeared in Devakī’s womb, but was the son of Yaśodā since she raised him. Or Devakī can also mean Yaśodā. This was previously explained. He is the moon because he relieves the gopīs of the suffering experienced during the day. Because Kṛṣṇa was born there, the womb is pure sattva, most pure. The milk ocean is suggested. He is most affectionate to all the cows, bullocks and calves. At the end of the day he gathers all the cows with effort since they are a treasure. His actions cannot be limited by praises (vandyamāna-caraṇaḥ). Nanda and the elders have approached on the road. Or his forest pastimes are worshipped by priests and elder cowherds with knowledge. He is beautiful even with his fatigue. He desires to satisfy his friends or all the gopīs. He is the king of the stars: he is the master of the gopīs or is surrounded by his friends. The example is suitable for all. This is Citsukha’s explanation.

"Though he\has arrived at the edge of the town, hear why he is slightly delayed." His eyes are mad (mada), rolling about due to the bliss from seeing his father and other loved ones, or due to love generated from seeing the gopis. The first meaning is for those in vatsalya rasa and the second meaning is for those in madurya rasa. This will be understood later. He is giving some acknowledgement of respect by nodding his head, since, though a prince, he was still young, and not obliged to strictly follow the etiquette according to scriptural rules. He gives respect to those dear ones (sva suhrdam) offering blessings—the priests, elders, brothers, servants and tambula makers. This is the reason for his delay. Sva surdam also indicates his beloved gopis. Krsna gives respect to those gopis worshipping him with smiling blue lotus glances from the roof tops, by his own glances, unseen by others, signifying that he would fulfill their desires. His face was slightly flushed like a ripe badari fruit, due to thirst, hunger and fatigue from wandering in the forest. Or his face was flushed due to experiencing prolonged separation from his dear gopis. His tender cheeks were decorated with the glint from his gold earrings. Krsna is addressed as the lord of the yadus which here means lord of the gopas. The reason has been explained previously. (see 10.5.20). He walked slowly like the king of the elephants. With happy face, he approached nearer, cooling the eyes of the inhabitants of Vraja, which had become hot due to separation during the day.

His eyes roll slightly with intoxication. The word īśat (slightly) is used to indicate that Kṛṣṇa is actually viśuddha-sattva, not affected by material intoxication. His eyes roll from intoxication (mada), a transformation of joy in his heart. This is his natural symptom and also the special symptom of nava-yauvana. In this case it arises from seeing the gopīs. The members of the assembly appreciate the many words with various shades of meaning according to their own desires. Thus there is no fault of mixing contradictory rasas. His eyes roll a little, but in various ways (vi—ghūrṇita). This indicates the playful nature of his eyes. He gives respect to his friends and relatives who have come when he arrives in Vraja by obeisances, embraces, conversations with smiles, affectionate glances, joking glances and merciful glances. He wears a kunda garland that reaches his feet. He has tender (mṛdu) cheeks. Tender beauty is the natural quality of kaiśora age. He has natural beauty because of the combination of the earrings with his cheeks. But the beauty is enhanced by his elephant-like gait. By his slow movements, the earrings move to and fro. This creates special beauty on his cheeks. He is master of the people of Vraja (yadu—patiḥ). It is said in the Skanda Purāṇa: govardhanaś ca bhagavān yatra govardhano dhṛtaḥ rakṣitā yādava sarve indra-vṛṣṭi-nivāranāt When Kṛṣṇa lifted Govardhana, he protected the Yādavas from the rain of Indra. It is mentioned in Hari-vaṁśa that Balarāma also spoke to the gopīs when he came from Dvārakā. He said yādaveśv api sarveṣu bhavanto mama vallabhāḥ: among all the Yadus (people of Vraja) you gopīs are dearest to me. Thus Kṛṣṇa is lord of the cowherds (yadu), the object of the highest prema for Gokula, being its supreme shelter. Kṛṣṇa with a happy face relieves the cows of suffering and comes close. The cows feel suffering because of coming from far off with no rest, because of worrying about Kṛṣṇa’s discomfort and because of separation from him. He relieves them of distress and also gives them the highest bliss. Śrīdhara Svāmī says that vraja-gavām (the cows and Vraja) also indicates the gopīs. Kṛṣṇa relieves the suffering of the cows, carts and places (gavām) of Vraja and its people including the gopīs. Or, he relieves the suffering of the eyes. Gavām can mean “eye” according to Nanārtha-varga. His face is pale like a badari fruit. According to the gopīs’ bhāva, they discern that he also suffers separation from them. But if one disregards his inner feelings one could say he was pale because of fatigue. Like the moon rising in the evening, he appears in Vraja in the evening. Thus the pairs of verses recited by the gopīs have been completed.

His eyes roll slightly from joy or intoxication. That is natural to him, but particularly because of seeing the gopīs. They roll with variety (vi-ghūrṇa). This indicates the beauty of his eyes. He offers respect to the feet of his mother and father. Or he personally acknowledges the gopīs, by glancing everywhere and rolling his eyes. Or he breaks the pride of the gopīs by not returning quickly, because of playing for a long time with the cowherd boys. He wears a jasmine garland extending to his feet, to give joy to the cowherds and cows. His cheeks are soft, without whiskers, since he is of kaiśora age. He decorates his tender cheeks with earrings. Naturally the earrings and his cheeks combine, but because the earrings sway slowly when he walks, they touch his cheeks. As the lord of the Yadus, the Yadus gave mercy to the people of Vraja by having him stay there. Or yadu-pati can mean lord of the cowherds. This is stated in Skanda Purāṇa. He is the lord of the cowherds by manifesting great qualities. He appeared in their family for this purpose. He has a joyful face—with smiles and glances. This indicates that special bhāva has arisen in him. He frees the cows of their continual suffering. Or he wears a garland of flowers and leaves. This indicate his great beauty in his forest dress. It is understood that he has a peacock feather on his head and wears earrings. As well he wears a long guñja necklace, as described previously. He has given up his previous dress and now wears a different costume. Because his desires are not completely fulfilled he slightly gives respect. His face is pale because they consider that he also suffers from separation, like them. Or he actually has a pale face from separation. Because he walks like an elephant, his earrings touch his cheeks. The earrings are like Lakṣmī kissing his cheeks. He frees the cows of Vraja from their distress by letting them meet their calves. This is unlike us. Just as the moon rises at the end of day, and meets the night after separation during the day, and is pale because of separation, so Kṛṣṇa appears at the end of the day, pale from separation and meets us. The moon is also lord of the Yadus since the Yadu dynasty begins with the moon. He causes people’s faces to become joyful (mudita-vaktraḥ) since he takes away their sorrow experienced during the day. He takes away suffering experienced during the day for the eyes (gavām) of the living entities (vraja).

O Pariksit, the gopis minds had concentrated on Krsna, and Krsna’s mind was centered on them. Because Krsna and his beloved gopis were mutually visaya and asraya, they concentrated their minds on each other. Thus, because they continually relished each other at every moment both in separation and meeting through their minds, it is said in this verse that they enjoyed (remire) the separation during the day. Prema has two states : union and separation. Though the person absorbed in Krsna appears to suffering in separation, actually he has attained the highest state of bliss internally. In this way the highest degree of prema is manifest.

This is the conclusion. O king! He pacifies Parīkṣit, overcome with prema on hearing the gopīs’ song. During the days, filled with separation, they became filled with bliss because they were absorbed in Kṛṣṇa whose nature was the highest bliss. Though they suffered separation (evam) they also experienced bliss by singing about him. Or, in this way (evam) using other songs, they experienced bliss. They desired consciousness of him alone by singing, by absorbing their consciousness and minds in him. They experienced the highest perfection (mahodayaḥ) because he made his appearance when they sang in this way. By his special appearances later, their enjoyment of his love became special. Because he is kind (vatsala), he makes his appearance. This causes direct enjoyment. They enjoyment increases in accordance with his appearances. Previously during separation, because he appeared in their minds, there was partial enjoyment. Thus they enjoyed (remire) at all times, even in separation.

This is the conclusion. O king! He pacifies Parīkṣit, overcome with prema on hearing the gopīs’ song. They sang about the pastimes of Kṛṣṇa, the form of highest bliss: his pastimes are also the form of the highest bliss. In the daytime, a time of suffering, the gopīs became happy (remire) because their minds were absorbed in him. Or in the manner just described, they became happy or they sang many pastimes like this (evam). Because their hearts and minds were absorbed in him, they suffered in prema at all times. By singing about his pastimes Kṛṣṇa directly appeared to them (mahodayāḥ). They sang when he returned at the end of the day. By singing of his form and pastimes and absorbing their hearts in him, at the end of the day he manifested himself as if in person, though he was not present. At night however they directly saw him and experienced happiness. In talks to gain relief from the pain during the day, this is not mentioned. Or they passed the day in singing constantly. In the night they became happy by directly seeing him. By singing in this way, they became happy with directly seeing him (mahān). There are three verses for each pair, describing morning, noon and afternoon pastimes. One pair of verses is directed to Yaśodā. One pair of verses describes their own position. At the very end there is one pair of verses expressing joy on his coming. The song is thus twelve pairs. Thus end the purports of the humble servants of His Divine Grace A.C. Bhaktivedanta Swami Prabhupāda to the Tenth Canto, Thirty-fifth Chapter, of the Śrīmad-Bhāgavatam, entitled "The Gopīs Sing of Kṛṣṇa as He Wanders in the Forest." 10.36: The Slaying of Ariṣṭā, the Bull Demon verses: Summary, 1, 2, 3-4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22-23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40 Chapter Summary This chapter describes how Kṛṣṇa killed Ariṣṭāsura and how Kaṁsa reacted when he learned from Nārada that Kṛṣṇa and Balarāma were the sons of Vasudeva. The demon Ariṣṭa wanted to kill Kṛṣṇa and Balarāma, and thus he assumed the form of a huge bull with sharp horns. Everyone in Kṛṣṇa's cowherd village became terrified when Ariṣṭāsura approached it, but the Lord pacified them, and when the bull demon charged Him He seized him by the horns and threw him about six yards. Though weakened, Ariṣṭa still wanted to attack Kṛṣṇa. Thus, dripping with sweat, he charged the Lord once again. This time Kṛṣṇa grabbed his horns, threw him to the ground and thrashed him like a pile of wet clothing. The demon vomited blood and gave up his life. Then Kṛṣṇa and Rāma, while being honored by the demigods and cowherd boys, returned to the village. A short time later Nārada Muni, the great sage among the demigods, came to see King Kaṁsa. He informed the King that Kṛṣṇa and Balarāma were not Nanda's sons but rather Vasudeva's. It was out of fear of Kaṁsa that Vasudeva had put the two boys under Nanda's care. Furthermore, said Nārada, Kaṁsa would meet his death at Their hands. Kaṁsa shook with fear and anger when he heard all this, and in great agitation he began thinking of how to destroy Kṛṣṇa and Balarāma. He called for the demons Cāṇūra and Muṣṭika and instructed them to kill the two brothers in a wrestling match. Then he spoke to Akrūra, who was expert at executing his duties. Taking Akrūra by the hand, Kaṁsa persuaded him to go to Vraja to bring the two boys to Mathurā. Akrūra agreed to carry out Kaṁsa's order and then returned home.