FolioCorpusBhagavad-gītā

Śrīmad-Bhāgavatam 10.15.10-12

క్‍వచిద్ గాయతి గాయత్సు మదాన్ధాలిష్వనువ్రతై: । ఉపగీయమానచరిత: పథి సఙ్కర్షణాన్విత: ॥ ౧౦ ॥ అనుజల్పతి జల్పన్తం కలవాక్యై: శుకం క్‍వచిత్ । క్‍వచిత్సవల్గు కూజన్తమనుకూజతి కోకిలమ్ । క్‍వచిచ్చ కాలహంసానామనుకూజతి కూజితమ్ । అభినృత్యతి నృత్యన్తం బర్హిణం హాసయన్ క్‍వచిత్ ॥ ౧౧ ॥ మేఘగమ్భీరయా వాచా నామభిర్దూరగాన్ పశూన్ । క్‍వచిదాహ్వయతి ప్రీత్యా గోగోపాలమనోజ్ఞయా ॥ ౧౨ ॥
kvacid gāyati gāyatsu
[kvachid gaayati gaayatsu]
madāndhāliṣv anuvrataiḥ
[madaandhaalishv anuvrataih]
upagīyamāna-caritaḥ
[upageeyamaana-charitah]
pathi saṅkarṣaṇānvitaḥ
[pathi sankarshanaanvitah]
anujalpati jalpantaṁ
[anujalpati jalpantam]
kala-vākyaiḥ śukaṁ kvacit
[kala-vaakyaih shukam kvachit]
kvacit sa-valgu kūjantam
[kvachit sa-valgu koojantam]
anukūjati kokilam
[anukoojati kokilam]
kvacic ca kāla-haṁsānām
[kvachich cha kaala-hamsaanaam]
anukūjati kūjitam
[anukoojati koojitam]
abhinṛtyati nṛtyantaṁ
[abhinrityati nrityantam]
barhiṇaṁ hāsayan kvacit
[barhinam haasayan kvachit]
megha-gambhīrayā vācā
[megha-gambheerayaa vaachaa]
nāmabhir dūra-gān paśūn
[naamabhir doora-gaan pashoon]
kvacid āhvayati prītyā
[kvachid aahvayati preetyaa]
go-gopāla-manojñayā
[go-gopaala-manojnayaa]
kvacit — sometimes gāyati — He sings gāyatsu — when they are singing mada - andha — blinded by intoxication aliṣu — the bees anuvrataiḥ — along with His companions upagīyamāna — being chanted caritaḥ — His pastimes pathi — upon the path saṅkarṣaṇa - anvitaḥ — accompanied by Lord Baladeva anujalpati — He chatters in imitation jalpantam — of the chattering kala - vākyaiḥ — with broken speech śukam — parrot kvacit — sometimes kvacit — sometimes sa — with valgu — charming kūjantam — cuckooing anukūjati — He imitates the cuckooing kokilam — of a cuckoo kvacit — sometimes ca — and kala - haṁsānām — of the swans anukūjati kūjitam — imitates the cooing abhinṛtyati — He dances in front of nṛtyantam — dancing barhiṇam — a peacock hāsayan — making laugh kvacit — sometimes megha — like clouds gambhirayā — grave vācā — with His voice nāmabhiḥ — by name dūra - gān — who had strayed far away paśūn — the animals kvacit — sometimes āhvayati — He calls prītyā — affectionately go — to the cows gopāla — and the cowherd boys manaḥ - jñayā — which (voice) charms the mind .
Blended reading (Sanskrit + English inline)
kvacid gāyati gāyatsu
kvacit
sometimes
gāyati
He sings
gāyatsu
when they are singing
madāndhāliṣv anuvrataiḥ
mada - andha
blinded by intoxication
aliṣu
the bees
anuvrataiḥ
along with His companions
upagīyamāna-caritaḥ
upagīyamāna
being chanted
caritaḥ
His pastimes
pathi saṅkarṣaṇānvitaḥ
pathi
upon the path
saṅkarṣaṇa - anvitaḥ
accompanied by Lord Baladeva
anujalpati
He chatters in imitation
anujalpati jalpantaṁ
jalpantam
of the chattering
kala-vākyaiḥ śukaṁ kvacit
kala - vākyaiḥ
with broken speech
śukam
parrot
kvacit
sometimes
kvacit sa-valgu kūjantam
kvacit
sometimes
sa
with
valgu
charming
kūjantam
cuckooing
anukūjati kokilam
anukūjati
He imitates the cuckooing
kokilam
of a cuckoo
kvacic ca kāla-haṁsānām
kvacit
sometimes
ca
and
kala - haṁsānām
of the swans
anukūjati kūjitam
imitates the cooing
anukūjati kūjitam
abhinṛtyati nṛtyantaṁ
abhinṛtyati
He dances in front of
nṛtyantam
dancing
barhiṇaṁ hāsayan kvacit
barhiṇam
a peacock
hāsayan
making laugh
kvacit
sometimes
megha-gambhīrayā vācā
megha
like clouds
gambhirayā
grave
vācā
with His voice
nāmabhir dūra-gān paśūn
nāmabhiḥ
by name
dūra - gān
who had strayed far away
paśūn
the animals
kvacid āhvayati prītyā
kvacit
sometimes
āhvayati
He calls
prītyā
affectionately
go-gopāla-manojñayā
go
to the cows
gopāla
and the cowherd boys
manaḥ - jñayā
which (voice) charms the mind .
  • mada-andha — blinded by intoxication
    mada (intoxication) + andha (blind). The bees are mad with honey and song. Gauḍīya: this is mada born of nectar — divine intoxication, the same that overtakes Caitanya Mahāprabhu in kīrtana. Vraja's bees are advanced bhaktas.
  • anuvrataiḥ — along with His companions
    anu (after, following) + vrata (vow). The cowherds are anu-vratās — those who follow His vow. Gauḍīya: a sakhā is one whose vrata is to be wherever Kṛṣṇa is; the sakhya-rasa is itself a vow.
  • saṅkarṣaṇa-anvitaḥ — accompanied by Lord Baladeva
    saṅkarṣaṇa (the one who attracts, drawing-together) + anvita (with). Saṅkarṣaṇa is Balarāma's tattva-name. Gauḍīya: Balarāma never leaves Kṛṣṇa's side in Vraja; the play is always dvi-vidha — two-fold — even in the imitations.
  • gopāla — the cowherd boys
    go (cow) + pāla (protector). Same root as the Lord's own name Gopāla. Gauḍīya: the boys share His name and His function — they protect cows alongside Him; sakhya-rasa shares svarūpa with its Lord.
  • manaḥ-jñayā — which charms the mind
    manas (mind) + jñā (knowing). One who knows the mind — a mind-charmer. Gauḍīya: Kṛṣṇa's voice is mano-jñā because it goes directly to what the heart was already longing for; He sings what you didn't know you were waiting to hear.
Sometimes the honeybees in Vṛndāvana became so mad with ecstasy that they closed their eyes and began to sing. Lord Kṛṣṇa, moving along the forest path with His cowherd boyfriends and Baladeva, would then respond to the bees by imitating their singing while His friends sang about His pastimes. Sometimes Lord Kṛṣṇa would imitate the chattering of a parrot, sometimes, with a sweet voice, the call of a cuckoo, and sometimes the cooing of swans. Sometimes He vigorously imitated the dancing of a peacock, making His cowherd boyfriends laugh. Sometimes, with a voice as deep as the rumbling of clouds, He would call out with great affection the names of the animals who had wandered far from the herd, thus enchanting the cows and the cowherd boys.

Śrīla Sanātana Gosvāmī explains that Lord Kṛṣṇa would joke with His friends, saying, “Just look, this peacock does not know how to dance properly,” whereupon the Lord would vigorously imitate the peacock’s dancing, causing great laughter among His friends. The bees in Vṛndāvana would drink the sap of the forest flowers, and the combination of this nectar and the association of Śrī Kṛṣṇa made them mad with intoxication. Thus they closed their eyes in ecstasy and expressed their satisfaction by humming. And this humming was also expertly imitated by the Lord.

— A.C. Bhaktivedanta Swami Prabhupāda
Viśvanātha Cakravartī Ṭhākura Gauḍīya
Translation
Sometimes the honeybees in Vṛndāvana became so mad with ecstasy that they closed their eyes and began to sing. Lord Kṛṣṇa, moving along the forest path with His cowherd boyfriends and Baladeva, would then respond to the bees by imitating their singing while His friends sang about His pastimes. Sometimes Lord Kṛṣṇa would imitate the chattering of a parrot, sometimes, with a sweet voice, the call of a cuckoo, and sometimes the cooing of swans. Sometimes He vigorously imitated the dancing of a peacock, making His cowherd boyfriends laugh. Sometimes, with a voice as deep as the rumbling of clouds, He would call out with great affection the names of the animals who had wandered far from the herd, thus enchanting the cows and the cowherd boys.
Commentary

Krsna began to dance in imitation of the dancing peacocks (barhinam abhi nrtyati). The peacocks became more enthusiastic to dance, and this made the boys laugh.

Jīva Gosvāmī Gauḍīya
Commentary

This verse shows the pleasure in his pleased mind (mentioned in the previous verse.) It is in the present tense to indicate that this type of activity was a daily event. Previously during his infant years he also performed similar activities (SB 10.12.7-10) but it was predominantly for play. Now Kṛṣṇa personally performed these acts with joyous mind. He sang somewhere (kvacit) on the path. Instead of pathi sometimes sragvī (wearing a garland) is seen. In that case kvacit can mean sometimes or in some places. The same meaning of kvacit can be taken in the following verse. The bees became intoxicated from drinking the nectar of Vṛndāvana flowers or from closeness to Kṛṣṇa. The bees became most intoxicated since they are described as “blind” with intoxication. This also indicates the sweetness of their singing. The word Saṅkarṣaṇa (the attractor) indicates that Balarāma became non-different from Kṛṣṇa when they sang. They sang along with other boys who had great affection for them (anuvrataiḥ). The bees sang one note together and Kṛṣṇa sang rāgas according to that note. The other boys sang about the pastimes according to the rāgas that Kṛṣṇa and Balarāma sang. They sang in a responsive way. He imitated in soft words what the parrot said. This was sweet (valgu). The word ca is added in some editions. This indicates that valgu (sweetly) should be taken with all the items mentioned. Abhinṛtyati means he faced them and danced. The cows, being unintelligent (thus they are called paśu in this verse), wandered far away from Kṛṣṇa. They were not aware that they had gone far away because of Kṛṣṇa’s sphūrti behind them, just as he had previously been there in person. His voice was deep like clouds rumbling. This is a characteristic of a great person.

Śrīdhara Svāmī Gauḍīya
Commentary

Being pleased, his play is shown in the following verses. Previously the play of all the small children was described (SB 10.12.7) Now particularly Kṛṣṇa’s individual actions with pleased mind are described. On some path (kvacit pathi) Kṛṣṇa sang. Another version has sragvī instead of pathi. In that case kvacit means at some place or at some times. This meaning will apply to the following verses as well. Intoxicated by honey from the Vṛndāvana flowers, or intoxicated by proximity to Bhagavān, the bees, closing their eyes out of happiness (andha) or blinded by the intoxication, sang. This indicates the sweetness of Kṛṣṇa’s singing. The word Saṅkarṣaṇa also indicates that Balarāma is non-different from Kṛṣṇa in singing. yadūnām apṛthag-bhāvāt saṅkarṣaṇam uśanty api Because he unites two families—Vasudeva’s family and the family of Nanda Mahārāja—he will be known as Saṅkarṣaṇa. SB 10.8.12 Kṛṣna is he whose pastimes are sung (upagīyamāna-caritaḥ), close by or as the highest by cowherd boys with exclusive devotion (anuvrataiḥ). Or Kṛṣ;na is he whose pastime of imitating the bees is praised as superior to the bees’ singing by the cowherd boys. This superiority should be inferred in the five following verses as well. He imitated in soft words what the parrot said. The cuckoos sing sweetly at the end of autumn. However Vṛndāvana is the shelter of all seasons. He imitated the sweet (the word valgu is understood) cooing of the swans as well. Facing (abhi) the dancing peacocks he danced. Clearly (ha) he taught (āsyana) the peacock. Or saying “The peacock does not dance properly” he made his friends laugh at the peacock. He called the cows, bulls and calves (paśūn). Or he called all the animals that wandered far from him. If they went far from him, they had less intelligence. Therefore they are called animals (to be tied up). With affection he called their names like Gaṅgā, Yamunā, Haṁsī, and Dhavalī. Out of special affection he called the cows by name (and not the other animals). He called the animals by attractive words, not by his flute. The words were deep like thunder. That is a quality of a great person. Or because the animals had wandered far way, he spoke loudly.

Related values
Karuna (Kindness / Compassion)Maitri (Friendship / Goodwill)Kritajnata (Gratitude)Guru Bhakti (Reverence for Teacher)Kartavya (Duty / Responsibility)Samata (Equanimity / Even-mindedness)Dana (Charity / Generosity)Aparigraha (Non-possessiveness)
Related verses

A father playing with his small children imitates animal sounds — barks, moos, bird-calls — and the children fall over laughing. Kṛṣṇa with His sakhās does exactly this, except the imitations are good enough to fool the bees themselves. The Lord of all forms becomes a perfect mimic of all forms — because in Vraja He is no longer a Lord; He is a friend's friend.

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