10.90 · Summary of Lord Kṛṣṇa's Glories

In the ninetieth chapter the symptoms of the queens’ love while they played water sports, the power of the yadavas and eternal nature of Krsna’s pastimes are described. According to the maxim "all things should end sweetly" Sukadeva describes the water sports of Krsna. But first as an stimulus (uddipana) for that, he describes the attractiveness of the city starting in the first verse. Krsna enjoyed in all those houses, which are described in detail in the first five verses. Having described the enjoyment in the houses, he then describes the enjoyment in the water. Krsna, enjoyed in the water which was fragrant and pure. Having described the pleasure in the ponds, he describes pastimes in the rivers. Embraced by the women (parirabdhah), he enjoyed in the water.

Concentrating his mind, Śukadeva remembers a special pastime filled with the highest happiness. This continues till the end of verse 24. First six verses describe his city, the city of Svayam Bhagavān. Thus the city was by its very nature most suitable for living joyfully and performing pastimes. He lived there continually (ni—vasan) since it was greater than Vaikuṇṭha. There he lived with his extraordinary consort Rukmiṇī (śriyaḥ patiḥ—master of Lakṣmī). More and more their details are then described. They had ever fresh beauty and youth that become increasing remarkable. Having described their beauty, their attractive gestures are described. They played with balls, and also sang and danced (ādibhiḥ). As they moved about while playing they appeared to be lightning decorating the sky. Having described the inhabitants of the palaces, Śukadeva then describes what was outside the palaces. There was always an army with four parts. In the crowded streets there were intoxicated elephants, soldiers, horses and chariots, all with decorations. The chariots shone remarkably with gold. The gardens are then described. The gardens resounded with the humming of bees and chirping of birds. Kṛṣṇa played intensely (reme). How? He played with sixteen thousand wives, while being a single husband. That is, simultaneously he pleased each individual wife. That was not impossible for him, since the one form manifested as many, as Nārada explained on visiting Dvārakā. Though the city was most attractive, the houses were even more attractive (mahārddhiṣu). In relation to water pastimes, Hari-vaṁśa gives the following description: aham iṣṭā mayā sārdhaṁ jale vasati keśavaḥ / iti tā menire sarvā nārāyaṇaparāḥ striyaḥ // sarvāḥ surata-cihnāṅgyaḥ sarvāḥ surata-tarpitāḥ / mānam ūhuś ca tāḥ sarvā govinde bahumānajam // aham iṣṭāham iṣṭeti snigdhe parijane tadā / nārāyaṇa-striyaḥ sarvā mudā śaślāghire śubhāḥ // ekārpitamano-dṛṣṭyo nerṣyā tāś cakrire 'ṅganāḥ // nārāyaṇena devena tarpyamāṇa-manorathāḥ // śirāṁsi garvitāny ūhuḥ sarvā niravaśeṣataḥ / vāllabhyaṁke śiva-mayaṁ vahantyaś cāru-darśanāḥ // All the devoted wives of Kṛṣṇa thought, “He desires me. He is with me in the water.” They were all marked with signs of lovemaking and satisfied with love. They were all proud that they were honored by Kṛṣṇa. “Kṛṣṇa desires me.” All the glories wives praised their good fortune with joy while their attendants rejoiced. The women glanced at him with devotion, never with hatred. All their desires were satisfied by Kṛṣṇa. They always carried their heads with pride. The beautiful women carried their auspicious husband in their attractive laps. Kahlāra are fragrant. Upala are white lotuses and kumuda are red. The Lord would enter those ponds, and also various rivers, and enjoy sporting in the water while his wives embraced him, leaving the red kuṅkuma from their breasts smeared on his body. He played in the spotless, fragrant water (previous verse). Mention of lakes indicates other water bodies also. Hari-vaṁśa says they also played in the ocean. The word mahodayaḥ (master) indicates that he was endowed all materials necessary for playing in the water. kāścit kāṣṭha-mayais teruḥ plavaiḥ sarvāṅga-śobhanāḥ / krauñca-barhiṇa-nāgānām ākāra-sadṛśaiḥ striyaḥ // makarākṛtibhiś cānyā mīnābhair api cāparāḥ / bahu-rūpākṛti-dharaiḥ pupluvuś cāparāḥ striyaḥ // naubhir gṛha-prakārābhiś cikrīḍur aparājitāḥ / snātānulipta-muditāḥ sāyāhne 'ndhaka-vṛṣṇayaḥ // āyatāś caturasrāś ca vṛttāś ca svastikās tathā / prāsādā nauṣu kauravya vihitā viśvakarmaṇā // Bhakṣya-bhojyāni peyāni coṣyaṁ lehyaṁ tathaica ca / bahuprakāraṁ manasā dhyāte teṣāṁ bhavaty uta // nārāyaṇājñayā vṛkṣāḥ puṣpāṇi mumucur bhṛśam / ṛtavaś cānurūpāṇi vihāyasi gatās tadā // vavau manoharo vāto rati-kheda-haraḥ sukhaḥ / rajobhiḥ sarva-puṣpāṇāṁ yuktaś candana-śaityabhṛt // śītoṣṇam icchatāṁ tatra babhūva vasudhāpate / vāsudevaprasādena bhaumānāṁ krīḍatāṁ tadā // uvāha sarva-gandhāḍhyaṁ svacchaṁ vāri mahodadhiḥ / toyaṁ cālavaṇaṁ vīra vāsudevasya śāsanāt // gulpha-daghnaṁ jānu-daghnam ūru-daghnam athāpi vā / nāryas tāḥ stana-daghnaṁ vā jalaṁ samabhikāṅkṣitam // Some beautiful women crossed the water in wood boats. Some dressed up as ospreys, peacocks, and elephants. Others resembled makaras or fish. Other women bathed in the water with many forms. The unsurpassable women played in the water using house boats. Joyful with playing in the water the Andhakas and Vṛṣṇis stayed there till evening. Viśvakarmā made square and round palaces in the boats. Just by meditating, foods to be chewed, licked, drunk and sucked appeared in many varieties. By the order of the Lord, flowers blossomed in profusion. The seasons appeared at suitable times. Pleasant breezes, cool as sandalwood, which gave relief from fatigue of love making, carrying flower pollen, blew in the sky. It became hot or cold by the desire of those playing, by the mercy of Kṛṣṇa. The ocean was filled with clear, fragrant water. It became saltless by the order of Kṛṣṇa. The women went into the desirable water up to their calves, to their knees, to their thighs, and to their breasts.

The supreme goal, the happiness of his pastimes is described now, at the end of the work, in twelve verses. He lived happily in his city (sva-puryām), at all times (ni-vasan). That place was suitable of living happily. It was greater than Vaikuṇṭha for living happily. It was even the happy residence of Mahālakṣmī for he was the husband of Lakṣmī (śriyaḥ patiḥ). It was endowed with increasing wealth of all types. Or this explains the reason for living happily there. Or he was the protector of Rukmiṇī (śriyaḥ patiḥ), by special, suitable pastimes, manifesting more unlimited qualities and forms than previously according to the Lord’s will. The city continually increased all wealth in newer ways, greater than in Vaikuṇṭha. The city was served by women, who were more attracdtive than the women of Vaikuṇṭha, having excellent ornaments and new youthful beauty, or beauty and youth which were more extraordinary than previously (nava). Next their skill is described. They played ball on the roofs. They also sang and danced. They were golden in complexion. Or kāntibhiḥ describes their complexion and their playing was fickle like lightning. Having described the inhabitants of the palaces, Śukadeva then describes what was outside the palaces. There was always an army with four parts. In the crowded streets there were intoxicated elephants, soldiers, horses and chariots, all with decorations. The chariots shone remarkably with gold. The gardens are then described. Udyāna means gardend with prominence of flowers. Upavana means groves with prominence of fruits. The city was endowed with these gardens. The place was filled in all directions with the sounds of birds and bees which entered into or lived in the groups of flowering trees. Kṛṣṇa played intensely (reme). How? He played with sixteen thousand wives, while being a single husband. That is, simultaneously he pleased each individual wife. That was not impossible for him since he has special powers. In relation to water pastimes, Hari-vaṁśa gives the following description: aham iṣṭā mayā sārdhaṁ jale vasati keśavaḥ / iti tā menire sarvā nārāyaṇaparāḥ striyaḥ // sarvāḥ surata-cihnāṅgyaḥ sarvāḥ surata-tarpitāḥ / mānam ūhuś ca tāḥ sarvā govinde bahumānajam // aham iṣṭāham iṣṭeti snigdhe parijane tadā / nārāyaṇa-striyaḥ sarvā mudā śaślāghire śubhāḥ // ekārpitamano-dṛṣṭyo nerṣyā tāś cakrire 'ṅganāḥ // nārāyaṇena devena tarpyamāṇa-manorathāḥ // śirāṁsi garvitāny ūhuḥ sarvā niravaśeṣataḥ / vāllabhyaṁke śiva-mayaṁ vahantyaś cāru-darśanāḥ // All the devoted wives of Kṛṣṇa thought, “He desires me. He is with me in the water.” They were all marked with signs of lovemaking and satisfied with love. They were all proud that they were honored by Kṛṣṇa. “Kṛṣṇa desires me.” All the glorious wives praised their good fortune with joy while their attendants rejoiced. The women glanced at him with devotion, never with hatred. All their desires were satisfied by Kṛṣṇa. They always carried their heads with pride. The beautiful women carried auspiciousness in their attractive bodies. He enjoyed in houses endowed with all perfections (maharddhiṣu). Though it was already mentioned that the city had ever increasing wealth, unlimited wealth is mentioned here in relation to the houses particularly. In the ponds within the palaces was pure water endowed with fragrance from pollen of fully blossoming lotuses: fragrant ones, white ones and red ones. In the houses flocks of doves chirped. Or the verse can be connected with the next verse where it is described that Kṛṣṇa played in the water.

Krsna was soaked in water from the water guns (recakaih) operated by the queens. They are compared to the yaksis because of their similar ferocity.

Kṛṣṇa was praised by Gandharvas playing instruments to accompany their singing and by bards reciting Purāṇas with accompaniment of vīṇās. There was also a screen around the water (so they could not see the playing). The wives and Kṛṣṇa played in the water using syringes. Kṛṣṇa never failed to be at the side of each one of them (acyutaḥ). To show their boldness they are compared to Kuvera and his women.

He was praised by singers as excellent as Gandarvas or, sometimes the devatās also came and praised him. Vadayadbhiḥ means by musicians. He was praised by all of them. Sprinkled by syringes he played with the women. He (acyutaḥ) was at the side of each woman. An example is given to show how one person played with many women. He was like Kuvera playing with many yakṣa women.

The flowers fell (uddhrta) from their large braids of hair.

They became more beautiful. They sprinkled him with water. Sma indicates surprise. On the pretext of taking his syringe they embraced him. Their smiles became more attractive (utsmaya). Sometimes utsava is seen instead.

His garland was smeared with the kumkuma from their breasts.

The Lord attained the highest bliss. The word tu indicates Kṛṣṇa especially. His garland became smeared with kuṁkuma from their breasts during the water play. Though previously kuṁkuma colored his garland, now it would not come off. He continually sprinkled them and they continually sprinkled him. He was surrounded by the young women like an elephant surrounded by his wives. The elephants also like to play in the water.

Krsna and his queens gave the ornaments and clothing used during the water sports to the musical performers (natanam). Genitive case is used for the dative case.

Kṛṣṇa and his wives pleased the dancers and other performers. The possessive case (naṭānāṁ) stands for the dative (gave to the dancers).

Kṛṣṇa and his wives rewarded the dancers and other performers who earned their living by singing or playing instruments. The possessive case (naṭānāṁ) stands for the dative (gave to the dancers). With great generosity Kṛṣṇa and his wives gave the clothing and ornaments worn during their playing.

The possessive case (naṭānāṁ) stands for the dative (gave to the dancers).

Two verses describe an astonishing fact. In this way, sometimes in the house and sometimes in the water, because of his actions and smiles etc. as he played, the women’s intelligence was stolen away by prema which surpassed all discrimination. Kṣveli means grabbing them. The order of items is of increasing ability to bewilder them. (Embraces were the most bewildering). Kila indicates “Thus it is said” or “Please hear this astonishing fact.”

After describing water pastimes, the special results of the Lord’s unlimited pastimes are described in twelve verses. When Kṛṣṇa, who attracts all hearts, played in the palaces and in the water, the minds of the women were stolen by his gestures, talks, glances, smiles, jokes, touches and embracees. These all attracted their hearts. The sequence is in order increasing power to steal the mind. Because these women had special prema, it was suitable that their minds would be stolen (hrtā dhiyaḥ). Dhiyaḥ means their ability to discriminate and judge properly. Kila means certainly. Because of their special bhāva, certainly this happened.

Thinking of lotus eyed Krsna in his absence, they spoke as if mad (unmattavat), having lost their intelligence, as if their minds were affected by drugs like dhattura, without power of judgement (jadam). Hear those words from me. This prema vaicitrya which appears at the sixth stage of prema, as a type of anuraga, is described in the Ujjvala Nilamani:. "When there is pain arising from separation even in the presence of the beloved out of increase in ones natural love, it is called prema vaicitrya."

They sometimes became as if mad, as if disturbed in mind by some drug. They would sometimes remain silent (agiraḥ) for a moment as if sleeping. Thinking whether Kṛṣṇa was present or not present, they concluded he was not there, and talked with loss of all sense of judgment (jaḍam), like a sleeping person talking. The reason for their madness was that they thought without deviation only of Kṛṣṇa who freed them from all suffering (mukunda). If he was present, he would remain silent, expecting to hear them speak. This is the type of separation called vaicitrya (in which the lover is present, but thought to be absent.) This is accepted by Vopadeva in Muktāphala. It is also described by Śriharṣa and others.

How their minds were stolen is shown. Or the previous verse can mean that Kṛṣṇa’s intelligence was stolen by the women’s gestures, smiles etc. The cause of stealing his mind is shown in this verse. Their minds were absorbed only in Kṛṣṇa, the giver of the highest bliss or the distributor of the happiness of prema (mukunda). Sometimes they thought of him, the most beautiful person (aravindākṣam), and became silent (agiraḥ). Sometimes they spoke as if insane, unintelligibly. Please hear when I speak. Hear carefully, this astonishing topic. Or thinking of him, with minds fixed only on Mukunda, they spoke words. Listen to the words (tā) that they spoke as I speak (nigataḥ).

Out of this madness, they see their own emotional state everywhere, such as in the female osprey. This is expressed in ten verses. O osprey, you are lamenting, without being able to sleep, feeling separation from Krsna. But he, our husband and lord, without love for you, is sleeping. He does not hear your lament. Because he is sleeping it is not possible for him to be merciful to you from hearing your lament, from which you could gain his company. He sleeps, but does he sleep with you? No. By nature, he is unknown to us (gupta bodhah). Somewhere in this universe, he is sleeping in the night, during which it is impossible to search for him. Therefore what will you do? What will we do? You, though only a bird, like us, have become deeply attached in the heart, an attachment due to his playful glance, his broad smile and lotus eyes. Why can you not give up that expectation of "Certainly I will meet him." ?

They all speak as one on hearing the voice of kurarī and other birds since they have the same sentiments. All the queens spoke. By its nature, the osprey cries out. They address the bird. O osprey! In this world you alone stay awake sleepless, and do not desire to sleep (ne śeṣe), since you loudly lament. Our husband (īśvaraḥ), remaining hidden somewhere in the night which prevents anyone from finding him, sleeps. Or, he remains hidden in the night somewhere in the world. Therefore we infer as follows. O friend! Because you are similar to us in lamenting, you are our friend. Your loud lamentation will be helpful to us also.

I offer respects to the queens, whose hearts were bewildered by prema. By their mercy one can understand the meaning of their words. Though they had direct association with the Lord, because of intense bhāva, they appeared like others in separation, because of special symptoms or because of the strength of their love. They considered all others to have similar bhāva for the Lord. They considered the kurāri which naturally cries at night to have pain on not attaining Kṛṣṇa. O kurarī! Or it is not at night, and there are no kurarī or other birds. While playing in the water they become subject to transformations like unmāda because of intense prema. In each verse a different queen speaks. Since they speak as if insane, at the same time, with different statements, there is no relationship between verses, and because of the lack of relationship, the verses possess great qualities individually. However, for the pleasure of the devotees according to my mind, I will make some connections. O wife of the kurari bird! Though the night has come you are awake and lamenting, with loud cries of pain. You do not cease crying for a moment. You are awake while others are sleeping and dreaming. The Lord has his waking state covered (gupta-bodhaḥ). “Why does he give up attraction to you and dream?” His waking state is covered by being in the world (jagati). He cannot know anything at all. Or though he is the form of all knowledge (agupta-bodhaḥ) he sleeps like others in this world. O friend! They think of the bird as having similar feelings or friendship. This is natural to prema. Has your heart also been pierced completely by his playful glance? The glance is generous (udāra). This means that the glance has the power to attract all hcarts or has the ability to happiness to all people. The glance also indicates the great beauty of his eyes. Or because his eyes are like lotuses (nalina-nayana) his glance is of this nature. Or you lament without cessation (na ṣeśe). Though all others in this world sleep you alone lament. They imagine the cause according to their bhāva. Like us, has your heart been pierced by the playful, excellent (udara) glance, the smile of his lotus eyes?

They speak to the cakravaki. "Can you not see your husband (adrsta bandhuh)? Such a painful cry is possible because of separation from your child." They then speak of an alternative reason for the lament. "Perhaps you are like us, who have become servants of Acyuta, and desire to bind in your hair the garland which touched his feet."

Hearing the even more plaintive cry of the cakravākī they speak. Your dear lover is unseen. You cry with great pain and pitifully. Bata indicates lamentation. We are in a similar situation. We cannot cry so loudly on not seeing our husband, but we cry with a special emotion for the Lord. Becoming a servant like us, do you desire to wear in your hair the garland used as a pillow by the feet of the Lord full of all qualities and beauty (acyutasya)? Do you desire his touch indirectly in this way because of you intense love? Touching the feet is only suitable for the bhakti of a wife. Thus they ask the bird about an article that had touched his feet. Or, like us you have become a servant--becoming his lover, you desire the good fortune suitable for that position. They do not state this directly because of shyness. Similarly the wives of the brāhmaṇas said: prāptā vayaṁ tulasi-dāma padāvasṛṣṭaṁ keśair nivoḍhum atilaṅghya samasta-bandhūn We simply wish to remain here in the forest so we may carry upon our heads the garlands of tulasī leaves you may neglectfully kick away with your lotus feet. SB 10.23.29

Hearing the even more plaintive cry of the cakravākī they speak. Your dear lover is unseen. You cry with great pain and pitifully. Bata indicates lamentation. We are in a similar situation. We cannot cry so loudly on not seeing our husband, but we cry with a special emotion for the Lord. Becoming a servant like us, do you desire to wear in your hair the garland accepted with love by the feet of the Lord who is full of all qualities and beauty (acyutasya)? The goal of this is to attain a service attitude. prāptā vayaṁ tulasi-dāma padāvasṛṣṭaṁ keśair nivoḍhum atilaṅghya samasta-bandhūn We simply wish to remain here in the forest so we may carry upon our heads the garlands of tulasī leaves you may neglectfully kick away with your lotus feet. SB 10.23.29 Though the bird does not have a braid, they refer to themselves, or imagine this out of madness) in prema. This should be understood in later verses also. Kim can indicate conjecture. Do you cry out because of a desire to carry the garland with devotion?

O ocean, giving up your gravity, you are making sounds like an unsteady person. Being without sleep, you are loudly crying. Please tell the reason. Well, even if you do not tell us the reason, we know the reason. Just as he stole our pearl necklaces smeared with kumkuma on the pretext of giving us conjugal enjoyment, he has stolen Laksmi, the kaustubha jewel and other things, which arose from you."

They then speak to the ocean roaring with an even louder sound. The ocean is respected because being a vibhūti of the Lord. They thus call out with respect, “Bho, bho!” They repeat the word out of great lamentation. Because of being unable to sleep, you are conspicuously (adhigataḥ) staying awake in a remarkable way (pra). In sighing like this, do you experience our suffering? Otherwise why do you do this? Considering for a moment they then speak again. Perhaps he whose nature is to take away all suffering (mukundasya) has taken away your famous characteristics like depth and steadiness. You are like us and have reached a condition that cannot be overcome. What misfortune (hā).

They then speak to the ocean roaring with an even louder sound. The ocean is respected because it is a vibhūti of the Lord. They thus call out with respect, “Bho, bho!” They repeat the word out of great lamentation. Because of being unable to sleep, you are conspicuously (adhigataḥ) staying awake in a remarkable way (pra) and roaring. Have you also (ca) come to the unfortunate condition, impossible to overcome. Have your good qualities stolen by the Lord, even though he is the bestower of all bliss? Or have your natural good qualities like steadiness and profundity been stolen by the Lord whose beautiful face reveals teeth white like kunda flowers when he smiles? Because you always roar, you also have attained the state that we have attained.

"O moon, are you becoming thin and losing power to remove darkness because of tuberculosis? We know that is not the reason. You had forgot those words, clever, profuse promises he made at the beginning of separation. Out of confusion you did not pay attention to them at that time. We see that now your words are choked up out of regret for not remembering those words—since you do not answer our question, and simply cry like the osprey and cakravaki---just as we being separated from him, lament at forgetting his words and remain here silent and shattered."

“Though the animals and ocean are wailing with more and more intensity because of Kṛṣṇa’s absence, why is the moon, full of good qualities, silent?” They state the answer indirectly. O moon! You have a serious case of tuberculosis, since your form of nectar has disappeared. Thus being weak, you cannot dissipate the darkness by your rays, even at full moon. You cannot destroy the darkness like the sun. Just as we have become thin because of separation from Mukunda and are unable to remove the suffering by ourselves, you are also suffering, but even more! Considering for a moment they speak again. Perhaps you have forgotten the promises he made when he went away, because of strong feelings arising from separation. Becoming thin because of not determining if he will come, you cannot destroy the darkness. Thus, like us, we see that you cannot speak since you do not answer. At least the osprey and others wailed in answer.

An example of the moon is given, comparing their pain to the pain of great sickness. Having caught serious tuberculosis, you cannot destroy the darkness. You remain without speaking because of forgetting the words of Mukunda, whose beautiful face reveals teeth like kunda flowers. O moon! Are you like us? Or remembering particularly the words of Mukunda, becoming absorbed in them, being silent and thing, we cannot remove the suffering by the rays of our intelligence. You are like us. Having caught tuberculosis, becoming thin, you cannot remove the darkness. But that is not the cause. It is because of special bhāva for Kṛṣṇa. Or having caught tuberculosis and becoming thin, you cannot remove the sorrow (tamaḥ) of the stars, your wives, by the touch of your hand. Why do you not answer? Forgetting the words of Mukunda, losing power to speak, you are like us.

"O wind of the Malaya hills, have we committed some offense to you? Because at this time of distress you seem to be taking revenge by inciting lust in us."

In the guise of praise, they criticize the slight breeze at the end of night, since it acts as an uddīpana for love. The praise is this. O wind from the Malaya mountains, made successful by being the residence of Agastya, and filled with the scent of sandalwood! What have we done to please you? Govinda who has appeared on earth (go) to remove its burden, has completely pierced our hearts, which support our lives, with his glances like arrows. And now you make consciousness (smaram) again enter our hearts. Or, you revive our love (smaram) for him, what to speak of giving us consciousness. Or you, the wind, understand that passion or smara is like fire, because of your own experiences. Being pierced by his glance we are dying and you supply the fire (smaram) necessary for funeral rites. Thus what did we do to please you, to make this possible? Criticism is as follows. O Malaya wind! What did we do to displease you? Nu indicates conjecture. We cannot understand by our intelligence. Why? You supply the fire for death rites when our hearts are pierced by his glances. You should not burn those who are dying, pierced by another. Not able to tolerate a moment’s delay, we have come unsteady. Or in such a heart, you are inciting passion. You are a fool. Uselessly you are imitating what has already been done.

They criticize the slight breeze at the end of night, since it generates pain in love. What have we done to displease you? Nu indicates conjecture. Another version has vā, indicating a question. Our hearts are completely shattered by the glance of the Lord, who bewilders the gopīs and is king of Gokula (govinda). You produce pain of love (smaram īrayasi) in our hearts. O Malaya wind! It is improper for you to produce pain since you have a cooling nature. It is highly improper to injure us when will have already been killed by his glance. Or what sin have we committed so that love, dear to you, directed to the Lord, pierces our hearts? It is improper to stimulate love which has no affection for us. It is not proper to make those who are suffering suffer even more. Our hearts have been pierced by the glance of Govinda.

"O cloud, you are the friend (dayita) of Krsna. Being tied to him out of love, you meditate on him. We understand you have attraction for him because though you are of similar color, he has the additional mark of the srivatsa (srivatsa ankam). With disturbed heart (sabala hrdayah), afflicted by lamentation, on the pretext of rain, you are showering tears and crying. Oh, why did you become attracted to him? His association brings only suffering."

Thinking the cloud is crying out of pain of separation from the Lord, as it showers water into the ocean, they speak of it as his sincere friend on seeing similarity of the cloud with Kṛṣṇa. Nūnam indicates conjecture. It should be supplied to all the statements. O cloud! You are perhaps a dear friend of the king of the Yadus since you have similar form to him. Then what? It seems you meditate on him since he has remarkable characteristics similar to yours. “What is the use of meditation if the result is less than expected?” The nature of his form is that it produces prema (prema-baddhaḥ), not indifference or hatred. Since you are bound with prema, perhaps you are longing for him. Your heart is affected with various (śavala) bhāvas like nirveda, since you are like us. By your symptoms arising from prema, we can understand about you. Or, because of great longing, your middle portion appears with many colors (śavala). That is suitable since you are like us. Oh! Perhaps on remembering him repeatedly, you sprinkle showers of tears everywhere. The reason is given. Attachment to Kṛṣṇa produces misery. Or any topic about him produces misery.

Thinking that the cloud showing water near the ocean is crying out of pain of separation from the Lord, they speak. The cloud is dear to the Lord because it removes suffering of the people by showering the land with rain. And it is dear because of similarity of color to the Lord. O cloud, endowed with beauty, with dark color (śrī)! You are dear to Kṛṣṇa, king of the Yadus, who is dear to us. Or just as the Yādavas are suitable of his affection, you also are his object of affection. Nūnam indicates conjecture. You, like us, meditate on Krṣṇa who is most extraordinary, with the extraordinary mark of Śrīvatsa. Or you meditate on Vraja Kṛṣṇa who always has a calf (vatsa) on his lap (aṅkam). The form wearing cowherd dress is most suitable for meditation. Bound by prema you think of him. They address the cloud with respect by using the word bhavān, since he is dear to the lord. Like us, greatly passionate, with disturbed in heart (śavala-hṛdaya), you emit streams of tears out of intense prema, on remembering him. Though you try to stop thinking of him you cannot. Attachment to him (tat-prasaṅgaḥ) or associating with him by news or thinking of him, gives suffering. This is to be expected.

"O cuckoo with most pleasing sound! With your voice, you are speaking about freedom from the suffering of separation (padani)." Pada can mean resolution, deliverance, foot, mark, article, place according Amara Kosa. Because in this separation, the sound of the cuckoo gives sorrow. The use of words like priya rava (pleasant sound) therefore have sarcastic intention. "O sweet throated one (valgita kantha)! What may I do for you, who are burning my with your sounds? I will light your beak on fire!"

With the end of night, they now praise and criticize the cuckoo when it begins warbling. The praise is as follows. O cuckoo famous for singing the fifth note, with sweet voice trained by your lover! You speak words with songs employing the fifth note, like the sounds of your lover. Or you speak words as a messenger containing words given by your lover. Please tell me how I can please you, since your words bring a dead person to life, by revealing that he is near? The singular is used in this verse (me) instead of the plural to indicate the cuckoo’s ability to speak to each one of them. The criticism is as follows. O cuckoo! You speak words taught by your lover since the words bring a dead person to life. But I think that dying is better than living because I cannot tolerate separation. You, like him, have produced sorrow by words which bring a person to life. What shall I do with your disgusting beak because of your offense? Please tell me. Think of your own punishment. Otherwise your offense cannot be extinguished.

They describe the warbling of the cuckoo at the end of night. Because of your words which resemble those of a person trying to bring to life a dead person, because of separation, what can I do to please you? I can do nothing. O cuckoo warbling the fifth note (valgita-kaṇṭha-kokila)! This indicates Kṛṣna’s sweet voice and skill at words. What can I do to please you? All the queens are indicated by this, or one queen whose heart has been stolen byhis sweet words speaks the verse. Or each queens makes a similar statement. Or have I done something to displease you since you speak to me, with words like the Lord’s (anayā) which kill a living person. But this is your nature, O cuckoo with a warbling voice! This statement arises from intense prema. Or with such words, can I do anything to displease you? I will do nothing to displease you, since this helps me die, which I desire anyway. Therefore speak to me.

"O holder of the earth, Raivataka Mountain! You are thinking of your desired goals (mahantam artham) and thus you remain silent and unmoving. This is your desire (api bata): as we desire to hold his feet on our breasts, you desire to hold Krsna’s feet on your peaks. If that is so, then you will end up in the same predicament as us."

Seeing the solid Raivataka Mountain standing in silence, since all its living entities had been sleeping during the night, the queens speak to it. O upholder of the earth! Though you hold up the earth five billion yojanas in breadth, you do not move and you do not speak. Therefore, you are most intelligent (udāra-buddhe)! They show how this is so. You are contemplating, or do you perhaps desire (kāmayase) some great object? Api indicates a question. Bata indicates lamentation. This great matter could be of great variety, depending on the person. Do you desire the feet of the prominent son of Vasudeva, who is our father-in-law, worthy of our worship (deva-putra)? Out of shyness they do not directly say Kṛṣṇa’s name, just as the gopīs say ārya-putra. Do you, like us, desire to embrace to your breasts (mountain peaks) his feet which are a treasure (vasu)? If you desire that, you will become foolish like us, unable to maintain your very life. “Breasts” is in the plural rather than dual to indicate intense greed for Kṛṣṇa. If the name Vasudeva is taken as one word, it is not fault that they say their father-in-law’s name directly, since they are in a state of unmāda.

Seeing the solid Raivataka Mountain standing in silence, since all its living entities had been sleeping during the night, the queens speak to it. O most intelligent (udāra-buddhe)! This is proper conduct of a gentleman. O holder of the earth! You protect the earth. Perhaps you are thinking of something important. Do you desire to hold the lotus feet of most attractive Lord (vasudeva-nandana), with embraces of prema (vi-dhartum)?

"O wives of the ocean! O rivers! Your pools have all dried up. We will tell the cause. Similar to us who have not obtained the loving glance of the lord of the yadus, who is the giver of desired happiness even to you (istabhartuh), and who have thus become thin, with our hearts cheated, you also have been thin, with dried up pools and no beauty of lotuses."

Seeing the summer rivers with meager water, thinking the rivers have fainted, they speak among themselves about the rivers without even addressing the rivers, though they addressed the previous subjects. Bata expresses disappointment or lamentation. The wives of the ocean have lost their facial beauty because of no lotuses. Their hearts, the lakes, have dried up. Why? You do not receive the affectionate glance of your dear husband the ocean, because of separation in the form of summer. Ah! The rivers have become like us. Our faces have also withered. The word puru (abundant) indicates that they have become thin and have lost their facial beauty.

Seeing the rivers in the distance with lack of beauty because of meager water in the summer and no lotuses at night, the queens think the rivers are in great pain. Have you withered away because of not seeing your dear husband (īṣṭa-bhartuḥ)? Kṛṣna appeared in the Yadu dysnasty with all excellent to manifwst unlimited qualities. He should protect us also. But we do not even receive his affectionate glance. Or since he is the protector of the Yadus, he does not protect us. Not attaining his glance, we have lost our hearts (muṣṭa-hrḍayāḥ) and have become thinner than you. Hrāda (lake) sounds similar to hṛdaya (heart). Thus there is the suggestion that just as the lakes dry up in summer, the queen’s hearts have dried up. And as the rivers are devoid of the beauty of the lotus, so the lotus faces of the queens are devoid of beauty since they have withered. It is suggested also that they have become thin by wailing like the ocean and shedding tears like the cloud. The rivers also have great attachment to their husband, the ocean. Because of the ocean ignores them, they become thin.

Thinking that some swan is a messenger they speak. The swan send to say, "Indeed how can he be happy without you?" "Does he remember his loving words that he said previously such as ‘In all my palaces I see no other wife who is as loving as you (Rukmini)’ Being unwavering in his love, does he remember?" "He does remember, and sent me here. Go to him and worship him." "If he does remember, he is not responding to us. He does not even come here. Therefore, why should we worship him? Why should we go?" "But then how can he deliver you from the pain of longing?" "O fallen messenger(ksaudra)! You should call him here, the one who bestows pain through his love (kamadam). Let him come here! Because we are proud, we will not go to him." Thinking that the swan would agree and go and call him, they again spoke. "Cheating us, he enjoys with Laksmi alone. Call him here without Laksmi." "She is very attached to him alone. How is it possible to avoid her?" "Bring him without her. Among us women (striyam singular to represent a whole class), is she alone devoted to him and not us?" There is an alternate version : ksaudra alapam akamadam. The meaning is then "How can we worship him who has words like honey (ksaudram) and does not fulfill our desire for love? Why not here? Though she does not get his respect, let her continue to worship him, because we are proud women. Among women, we have our interested in our reputation and respect. "

With the arrival of morning, they think the swan is a messenger and speak to it. O swan! Have you arrived comfortably (svāgatam)? Or, it is splendid that you have come at this proper time. Please sit down. Drink some milk. Having welcomed the swan they then inquire. Please tell us! Aṅga indicates great respect. Or, it can indicate “You are part of our body.” This means “O intimate friend!” Tell us what our husband, who was born in the Śūra dynasty for everyone’s auspiciousness, is doing now. That is proper. We know for certain (nu) that you are his messenger. First they ask about his health. Is he, who cannot be controlled by anyone by love (ajitasya), happy (svasti)? This question shows some internal hatred. “O ladies! How can he be happy in separation from you?” Does he remember our answers to him when he tried to console us? Kiṁ vā (questions) can also be taken as kiṁvā (or). It indicates a question with a frown like kiṁ nu. Or, does he remember the answers he gave to us. “With gratitude he remembers you, since you are so devoted to him.” We do not believe that. He is unsteady in love (cala-sauhrdaḥ). “He is steady in love and desires you, who are most dear to him.” Proudly they answer, “Why should we serve him?” “He grants all desires, and thus should be worshipped.” Tell him to come without Lakṣmī. She alone is dedicated to him. This is statement uttered in great misery. They did not fear uttering the name of the father of their father-in-law (Śura) since the name takes a derivative form (śaureḥ).

With the arrival of morning, they think the swan is a messenger and speak to it. O swan! Have you arrived comfortably (svāgatam)? Or, it is splendid that you have come at this proper time. Please sit down. Drink some milk. Having welcomed the swan, they then inquire. Please tell us! Aṅga indicates great respect. Or, it can indicate “You are part of our body.” This means “O intimate friend!” Tell us what our husband, who was born in the Śūra dynasty for everyone’s auspiciousness, is doing now. That is proper. We know for certain (nu) that you are his messenger. First they ask about his health. Is he, who cannot be controlled by anyone by love (ajitasya), happy (svasti)? This question shows some internal hatred. “O ladies! How can he be happy in separation from you?” Does he remember our answers to him when he tried to console us? Kiṁ vā (questions) can also be taken as kiṁvā (or). It indicates a question with a frown, like kiṁ nu. Or, does he remember the answers he gave to us? “With gratitude he remembers you, since you are so devoted to him.” We do not believe that. He is unsteady in love (cala-sauhrdaḥ). “He is steady in love and desires you, who are most dear to him.” Proudly they answer, “Why should we serve him?” “He grants all desires, and thus should be worshipped.” Tell him to come without Lakṣmī. She alone is dedicated to him” Or among all women she alone is dedicated to him alone. She is not fickle. This is stated with mockery. Giving up us queens, who are full dedicated to him, he serves Lakṣmī. Why should we worship him? Though the lord was directly present, they spoke in misery with the symptom called vaicittya, out of intense prema, as if he were absent. By this the Lord fell under their control. Though filled with pain of separaton, such conditions are the highest attainment. This is explained in Bhāgavatāmṛta.

"What goal did these women, possessing such love, for Krsna attain?" This verse answers. (It seems that in visvanatha’s version the last words are vaisnavim gatim, rather than paramam gatim, and thus his comments are upon the words vaisnavim gatim. ) They attained what is to be obtained by the vaisnavas, prema bhakti (vaisnavim gatim). But for those queens, who were beyond the material influence, purely spiritual entities, the most beloved eternal consorts of the Lord, endowed with sat cid ananda bodies, who relished the sweetness of the Lord rather than the taste of living in impersonal Brahman, the attainment could only be more intense prema, since it was impossible for them to attain liberation or any other such goal. Or "vaisnavi" can also mean "of visnu or of Krsna". Therefore vaisnavim gatim means that they attained the position (gatim) of Krsna, a state of oneness with Krsna, caused by the climax of madness in prema. The gopis of Vraja, after asking various questions when Krsna disappeared during the rasa dance, attained a state of identification with Krsna with the increase o their madness, thinking "I am Krsna. See my movements. Sb 10.30.19" In the same way, the queens, after asking questions to the osprey and others, attained that state of oneness. Attaining this state of oneness with Krsna and the prema vaicitrya exhibited by the queens is manifested at the stage of anuraga. This stage of anuraga attained by the queens is explained in the Ujjvala Nilamani.

Śukadeva now explains the greatness of the queens having such prema. By such mutual love as described, enacted for Svayam Bhagavān Kṛṣṇa, the most rare to attain (yogeśvareśvare), the wives of Kṛṣṇa born in the Madhu dynasty attained the condition of Kṛṣṇa who spreads everywhere as Svayam Bhagavān (vaiṣṇavīm gatim). They become like him. Or, just as he is all pervading thay also become all pervading. Instead of vaiṣṇavīm sometimes paramām is seen. They attained a purely spiritual condition. The form kriyamānena (present) indicates that some of the queens after the defeat of Arjuna by the thieves (after Kṛṣṇa’s disappearance) had some obstacles, and attained another condition—in the material world (where they continued to serve). It is suitable that they attained the goal since it has been shown that they were the Lord’s svarūpa-śakti in relation to their marriage with him.

Śukadeva now explains the greatness of the queens having such prema, by which they controlled the Lord (iti). In the manner stated, by a similar bhāva, they attained the goal. This indicates the greatness of that bhāva. This love was directed to Kṛṣna, who attracts all hearts. But it is difficult to attain for others, since he is the Lord of all masters of yoga. With effort they can attain something, serving in the mind. And by his special śakti (yoga) he was able to enjoy with each one of the queens at the same time. This bhāva was continuous, not ever bringing full satisfaction (kriyamānena). They were the wives of he appeared in the Madhu dynasty (mādhavyaḥ). They attained a condition similar to his (gatim). Or they attained the state of highest pastimes. Each of them directly realized “Controlled by his devotee, he is enjoying with me alone at all times, in all ways. He never separates from me at any time for any reason.”

Krsna, being glorified excellently by many songs, attracts the minds of women. But (va) what then to speak of those who see him?

Now Śukadeva glorifies Kṛṣṇa. He who simply being heard, who is the subject of songs sung by many singers or many literary works or who is glorified profusely by singers or literary works, attracts the minds of women. What to speak of attracting the minds of women who see him. Another version has kutaḥ punaḥ instead of ca kim punaḥ. Thus the love of his wives with naturally great prema, who played with him always, was proper. One may hear other opinions, because even sages can be bewildered: ity aṅgopadiśanty eke vismṛtya prāg udāhṛtam muni-vāsa-nivāse kiṁ ghaṭetāriṣṭa-darśanam Some men proposed that the troubles were due to Akrūra’s absence, but they had forgotten the glories of the Supreme Lord, which they themselves had so often described. Indeed, how can calamities occur in a place where the Lord, the residence of all the sages, resides? SB 10.57.31

Though only heard about, or only sung about profusely, he attracts the minds of women. What can one say how he attracts the mind of the women who directly see him. Developing attraction by hearing depends on concentration, but developing attraction by singing depends only a relationship, something lesser. That is the meaning of vā. Or singing plentifully with many songs attracts the mind. What can be said? And what then can be said of attaining the mind by seeing him? Singing is better than hearing but seeing is the best. This bhāva was suitable for the queens, who were most fortunate, always playing with the Lord.

"What type of austerity is to be described for them for attaining that position?" "None, because they were nitya siddhas." Or one may ask, "For those among them who were sadhana siddhas, what type of austerities should have been done to get that position?" "They served him by massaging his feet, thinking of him as their husband."

These women were most fortunate and not others because of their special love. Others just by thinking of him as their husband, though he was not their husband directly, because of prema, served the Supreme Lord (jagadguru) with complete devotion (sam—paryacaran) by meditating that they massaged his feet. How can one describe the greatness of their worship (tapas)? One cannot describe it. What to speak of describing those who directly serve him eternally as his wives?

They and no others are the most fortunate. They serve him with complete dedication, not depending on anything else--massaging his feet, washing his feet, combing his hair, fanning him etc. He is the most worthy of worship among all beings such as Brahmā. He is most rare to attain. They serve him, thinking of him as their husband (bhartṛ-buddhyā). How to describe the fortune of their worship? One cannot describe its greateness. Śukadeva indicates the mood of the gopīs. Though that is the highest prema, he gives respect to the queens’ love for Kṛṣṇa as a husband, in which they can freely serve him, and he is not satisfied with having marriage of the gopīs in Vraja. Thus here the greatness of the Lord accepting household life to enjoy various pastimes with the queens has been described. Or what can be said? He gave these dear devotees his mercy. That is the intention of the verse.

He showed the house to be the place (padam) for achieving dharma artha and kama.

Having described Kṛṣṇa’s activities which clearly display his pastime nature, Śukadeva now describes how he gave happiness to all by being absorbed in Vedic dharma. He is the shelter of devotees absorbed in his pastimes constantly engaged in dharma like sacrifices prescribed by the Vedas. He showed the household goals of dharma, artha and kāma. He taught this to others since he is also the shelter of persons dedicate to dharma as well as of persons absorbed in his pastimes.

Though fixed in dharma, he delivered others by teaching dharma through his own conduct. In the way described, he performed dharma prescribed in the Vedas. He was the goal of the devotees, delivering bhakti by his mercy to the devotees. Or he was the goal for persons dedicated to dharma. By this he was to be attained by them. Or the goal was to give happiness to his devotees. He constantly performed dharma and constantly showed the goals (muhuḥ). This is to emphasize showing dharma.

After having described the glories of the Yādavas with all the Lord’s sons when he became a householder, he now repeats this. He was situated in the most excellent (param) dharma of the householder since he is the shelter of all āśramas. It is also said: bhikṣābhujāc ca ye kecit parivrāṅ brahmacāriṇaḥ te py atraiva pratiṣṭhante gārhasthayaṁ tena cai varam Those who are sannyāsis, vanaprasthas, and brahmacārīs are all dependent upon the gṛhasthāśrama. Thus it is the best. Viṣṇu Purāṇa Or this was the best dharma because through it he could chiefly implement his goals. He was Svayam Bhagavān, who appeared in order to display his unlimited powers. Or, he attracted everyone’s heart (kṛṣṇasya) by the sweetness of performing those dharmas. Instead of ca sometimes tu is seen. This makes some distinction. He had eight principal queens (mentioned in the next verse) and he had sixteen thousand one hundred other queens.

Those eight of whom the principal queen was Rukmini have been described previously, as well as their sons.

Among the best of women were the eight principal queens. They and their sons were previously described in order.

They were the gems, the most excellent, among all women like Pārvati. Among the gems were eight queens. Their sons have also been described in order.

There is an alternate version amogha rati instead of amogha gatih. In that case the meaning is "one whose desires do not go in vain, whose desires are always fulfilled."

These are recalled. In all the wives he had ten sons each, who were just like him since his intentions never go in vain. He begot in his wives, at the time they should appear, by his will, ten sons who were the abodes of the highest spiritual elements, since he was the Lord. Since he was the Lord this was not astonishing.

These are recalled. In all the wives he had ten sons each, who were just like him since his pastimes never go in vain (amogha), because he was directly bhagavān (īśvaraḥ). Or “How was it possible to produce the same number of sons in each queen?” He is capable of everything (īśvaraḥ).

Though all the sons had great power, eighteen were special among them, having great strength and prowess (mahā-rathāḥ). Therefore they had great fame (udāra-yaśasas). Or, they were the best in courageous acts and also generous in performing rites (udāra-yaśasas). Hear of them from me. Others give them different names. Because of being discerned as the best, I will tell their names.

The Aniruddha listed here is a son of Krsna not the son of Pradyumna, as the subject is the sons of Krsna.

Many of these were mentioned in the Chapter Sixty-one. Dīptimāṁs tāmrataptādyā rohiṇyās tanayā hareḥ: Dīptimāna and Tāmrataptā were sons of Rohiṇī (chief of the sixteen thousand queens). (SB 10.61.18) Those listed here are the chief sons among the other queens. Instead of Citrabāhu sometimes Citrabarhi is seen and instead of Virūpa sometimes Virūtha is seen.

Like their father the sons had great prowess. That is suggested by the name madhu-dviṣaḥ. Among them the best (prathamaḥ) was Pradyumna since he was equal to his father, being the son of Rukmiṇī, who was the best queen. O king of kings! You should understand this since you are famous in the family of kings.