Śrīmad-Bhāgavatam 10.44.15
Blended reading (Sanskrit + English inline)
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vraja - striyaḥ
—
the women of Vraja
Compound: vraja + strī (woman). The gopīs again — the Mathurā women have shifted from generic praise (gopyaḥ in 14) to the more intimate ranking: vraja-striyaḥ are the most fortunate of all women, dhanyāḥ.
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anurakta - dhiyaḥ
—
with attached minds
Compound: anurakta (attached, dyed-after) + dhī (intelligence). The very technical Gauḍīya word — anurāga, the deep dye of attachment, is rāgānuga-bhakti's signature. The Mathurā women describe exactly the bhāva they themselves are aspiring to.
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aśru - kaṇṭhyaḥ
—
with throats choked with tears
Compound: aśru (tear) + kaṇṭha (throat). One of the eight sāttvika-bhāvas (svara-bheda) enumerated by Rūpa Gosvāmī in Bhakti-rasāmṛta-sindhu. The Mathurā women diagnose the gopīs as exhibiting the highest bodily signs of prema.
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urukrama - citta - yānāḥ
—
whose minds have gone to Urukrama
Compound: urukrama (the wide-strider, Viṣṇu) + citta + yāna (going). Their cittas have left their bodies and gone to the Lord. Cf. SB 1.5.22 — Vyāsa's instruction to Nārada: glorify only Urukrama.
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mathana
—
churning
From √math. The Yaśodā verb (SB 10.9). The Mathurā women, listing the gopīs' daily work, name mathana first among the activities woven with kṛṣṇa-kīrtana — quoting, perhaps unknowingly, Vraja's most famous scene.
"And even while doing household chores, the gopis were not stopped from drinking the nectar of his sweetness." That is the intent of this verse. "While milking the cows and doing other chores, such as swinging or sprinkling water on the ground (uksana), they would sing about his name, qualities and form and (ca) see him. In this way, with their tongues they tasted and with their eyes they tasted, without interruption. Krsna, being completely attracted to them (anurakta dhiyah), carries them in his heart (urukrama citta yanah) (though brahma and others carry him in their hearts)." In this way the great fortune of the gopis is expressed.
Even when the gopīs could not directly see Kṛṣṇa, he manifested to them as if he was present. While milking cows or threshing grains, they sometimes saw him (ca) and sometimes sang about him. When they did not see that form, that form (enam) appeared before them as a sphūrti. Because we do not sing like that, we are most unfortunate. Out of great attraction their throats became filled with tears. Or, because they were attached to him, they became overcome with crying (aśru-kaṇṭyaḥ). He made his appearance in their hearts, wherever they went (urukrama -citta-yānāḥ). Another version has cintayānāḥ (their thoughts went to him).
Even when the gopīs could not directly see Kṛṣṇa, he manifested to them as if he was present. While milking cows or threshing grains, they sometimes saw him (ca) and sometimes sang about him. When they did not see that form, that form (enam) appeared before them as a sphūrti. Because we do not sing like that, we are most unfortunate. Out of great attraction their throats became filled with tears. Or, because they were attached to him, they became overcome with crying (aśru-kaṇṭyaḥ). He made his appearance in their hearts, wherever they went (urukrama –citta-yānāḥ). Another version has cintayānāḥ (their thoughts went to him).
- Which daily domestic act could become a vehicle for singing about Kṛṣṇa?
- Where do you separate work and worship that the gopīs unite?
The gopīs sing of Him while milking, winnowing, churning, gathering cow-dung, swinging, soothing crying babies, sprinkling the courtyard, cleaning the house. The work goes on; the song does not stop. Their life is the perfected form of what Yaśodā's churning verse already showed — bhakti braided into the day's rope.
In Canto 10's ninth chapter, mother Yaśodā churns yogurt while singing Kṛṣṇa's pastimes — the rope of the churn and the rope of remembrance pulled together. The Mathurā women in this verse are describing the same Vraja, only widened: every gopī, in every house, performing the same braid Yaśodā performs in one.
Gauḍīyas read this verse as the seed of the Hare Kṛṣṇa mahāmantra's practical use: chanting and household work are not opposed; they are made for each other. The hand churns, the voice sings, the dhī attaches itself anyway.
My note
Source: vedabase.io