10.21 · The Gopīs Glorify the Song of Kṛṣṇa's Flute

The twenty first chapter describes how the gopis, afflicted by their love of Krsna on hearing his flute, began to praise the flute, Vrndavana, the female animals and the female devatas. The gopis describe the pastimes which Krsna performed in the forest, which they viewed from the village with loving eyes. Sukadeva, after describing the autumn season, in order to begin the description of the pastimes of the song of the flute which is intimately related to it, first describes the entrance of Krsna into Vrndavana decorated with the sweetness of autumn. By touching the groves of lotuses, the wind became fragrant and cool (padmakara sugandhina). Krsna, along with the cows and cowherd boys, entered the forest pervaded (vatam) by this fragrant, cool wind. Wind is in the singular instead of the plural to indicate a very gentle breeze. The word madhu pati of the next verse is the subject of this verse if the alternate reading of the verse substitutes vanam instead of acyutah.

After describing autumn, the pastimes of Kṛṣṇa in autumn are described just as his pastimes in the monsoon season were described. This description continues until the end of the chapter. The forest is described as attractive by its nature, with attractive water and breezes, as an ingredient of his pastimes in one and half verses. Ittham means “he did generally as I have described.” Another version has vanam instead of acyutaḥ. Citsukha accepts the version with acyutaḥ. In that case the word vanam should be understood in the sentence. The word sa -go-gopālakaḥ modified madhu-patiḥ in the next verse, if the version with vanam is accepted. Or Śukadeva did not mention his name since he did not have the ability to say his name, being overcome with emotion because of the attractive descriptions of Kṛṣṇa’s form and pastimes. Thus the word Kṛṣṇa could be added after sa -go-gopālakaḥ as this was his intention. The same explanation can be given for verse 5.

After describing autumn, the pastimes of Kṛṣṇa in autumn are described just as his pastimes in the monsoon season were described. This description continues until the end of the chapter. The forest is described as attractive by its nature, with attractive water and breezes, as an ingredient of his pastimes in one and half verses. The natural quality of water—clarity and attractiveness-- manifested because it was pure. The wind was cool, blowing gently and fragrant because of the lakes filled with blossoming lotuses in the forest.

Krsna (madhupati) , entering (avagahya) the forest with its mountains, lakes , rivers, and flowering groves, resounding with the calling of birds and buzzing of bees, played sweetly on his flute (cukuja). The word madhu pati means master of spring (madhu month). The inference is that when Krsna (personification of spring) entered the forests in the autumn, the forests became beautiful with spring flowers. He entered along with Balarama and the cowherd boys (sa pasu pala bala) to herd the cows (gocarane, but it is not mentioned here that they played flutes. Only Krsna played the flute. The venu gita or song of the flute came from Krsna’s flute only.

The cowherds were called followers of Madhu (ancestor in the Yadu dynasty) since they were members of the Yadu dynasty and thus Kṛṣṇa is called Madhupati, lord of the cowherds. This indicates a complete gathering of boys for the pastimes. Also madhupati means the lord of spring, king of the seasons. When the lord of spring enters the forest, then the autumn forest becomes even more beautiful. The word avagāhya (immersing) indicates that he entered completely into the forest, appreciating its very essence. The phrase with saha-paśu-pāla-balaś (with the cowherd boys and Balarāma) goes with the verb cārayan (herding), not with the verb cukūja (playing the flute) since the next verse mentions that the women of Vraja were attracted by that flute. Cukūja has a causative meaning “he made the flute make sounds.”

The setting is a stimulus for love. The previous verse mentioned that he entered the forest and remained there. This indicates daily pastimes there. He played his flute and the gopīṣ’ response is mentioned in the next verse. Sagogopālakaḥ of the previous verse refers to madhupatī (lord of the cowherds) in this verse. Or overcome by bhāva because of describing the pastimes, Śukadeva could not utter directly Kṛṣṇa’s name. In verse 5 also his name is not mentioned for the same reason. Citsukha accepts the version with acyutaḥ. As lord of the Yādavas (madhupatiḥ), herding cows is not possible. Herding cows suggests a special rasa filled with affection for the devotees. Thus madhupati can also mean “lord of a special intoxicating rasa.” The word suggests that Kṛṣṇa was intoxicated and caused intoxication. Kṛṣṇa entered into the forest completely (avagāhya), into its very nature. With the cowherds and Balarāṁa he played he flute. They all played. Or together with the boys and Balarāma he herded the cows, and played the flute alone.

Hearing the song of Krsna’s flute, the gopis began describing indirectly (paroksam) about Krsna entering the forest to their friends. The word paroksa (indirectly) is used because they were situated far off, in Vraja.

On hearing the flute the gopīs began to describe him constantly or began making songs of their own (anv--avarṇayan). The cause is mentioned. They heard the flute with an appearance of love. Though he was engaged in playing the flute at this time (paugaṇḍa), he aroused them because of his skillfulness in manifesting kaiśora age even at this time. On seeing the beauty of the autumn he became stimulated and began practicing his flute playing to attract them. Thus they became aroused at this time and began to describe him at this time. They heard from far away, but completely, since the nature of the sound of his flute was that it spread everywhere because of its deep tones (āśrutya). Or, even hearing it a little, some (kāścit), such as Rādhā, became affected. All the women of Vraja heard however, since the sound is described as sarva-bhūta-manoharam: attractive to all beings in verse. 6. Thus women like Yaśodā became aroused with vātsalya sentiments, not madhurya sentiments or smarodayam. Rādhā spoke to her friends such as Lalitā to reveal her mental anguish. She told only her intimate friends (sva) because of great embarrassment. Moreover she did this privately, hiding her emotions.

At that place (tat), the gopīs began to describe him constantly or began describing the flute after hearing his flute (anv--avarṇayan). The cause is mentioned. The song of the flute manifested his love or remembrance of the gopī (smarodayam), on seeing the water etc. Or the song caused an appearance of desire in the gopīs. Though Kṛṣṇa’s nature is always like this, now because of manifesting a special bhāva, with special playing of the flute, this occurred. Therefore at this time the gopīs began to speak. Hearing the flute song which was filled with Kṛṣṇa’s special love for them or which was most enchanting (tat), they began describing him, because the sound manifested love. The women of Vraja or living Vraja heard from far off, or heard distinctly (āśrutya) the song, since it was filled with Kṛṣṇa’s special desire or strong love for them. Or they slightly heard (āśrutya) the song of flute or heard the song by the flute. The sound of the flute manifested as a song because it seemed to sing with a special grace on its own by the touch of Kṛṣṇa’s lips. Some of them, endowed with special bhāva, such as Rādhā, began describing Kṛṣṇa. Though all the women of Vraja heard the flute, some felt parental affection, not conjugal love. Thus those women are not included in the gopīs who began describing Kṛṣṇa in this chapter. They described him in private (parokṣam) to their friends such as Lalitā. Or they described Kṛṣṇa to give happiness to their friends. By making their friends happy they would become happy.

When the gopis attempted to describe the song of the flute, they could not do so, because their hearts were overcome with strong desire for Krsna.

This verse describes the sequence of the arousal of love. They began to describe him privately, indirectly (parokṣam in the previous verse). But as they began they could not do so, because of the impulses of love (smara-vegena). They turned over again and again in their minds the activities of he who attracted their hearts (Kṛṣṇa), using his flute. O king! Śukadeva addresses Parīkṣit with great pain produced by his intense emotions. Or he calls to Parīkṣit to control him when he sees that Parīkṣit is developing strong emotions.

They were just beginning to describe his actions, but could not, because of the impulse of love with remembrance of Kṛṣṇa. They pondered the actions, consisting of playing the flute or what will be described later, of Kṛṣṇa, who attracts all hearts. Or some described his activities (from the previous verse) while others could not begin. O king! Śukadeva calls out with pain on attaining a special bhāva while relating this. Or, seeing Parīkṣit entering a special bhāva, he prevents it by addressing him.

Overcome with emotion, Śukadeva elaborates the description in two verses. The bahuvrīhi compound naṭa-vara-vapuḥ indicates non-difference of the person from the object mentioned. Naṭa-vara-vapuḥ means that Kṛṣṇa had a body of a dancer. yan martya-līlaupayikaṁ sva-yoga- māyā-balaṁ darśayatā gṛhītam vismāpanaṁ svasya ca saubhagarddheḥ paraṁ padaṁ bhūṣaṇa-bhūṣaṇāṅgam Kṛṣṇa possesses that form suitable for human pastimes to show the full capacity of his yoga-māyā. That form astonishes even himself. It is the pinnacle of auspicious qualities and enhances the beauty of his ornaments. SB 3.2.12 Since his beauty astonishes even himself, it is natural that he is the best among dancers; among all his associates he is the most attractive. But now he was also dressed as a dancer (naṭa-veśa). Or, possessing such a body, he was nourished by the appearance of its continual beauty. Another version has naṭa-vara. The karṇikāra flower is yellow with the shape of a lotus. The Vaijayantī garland is made from flowers of five different colors. He filled the holes of the flute with the nectar of his lips. This indicates that the sound of the flute coming from the holes would be as attractive as the nectar of his lips. He entered the forest of Vṛndā. Vṛndā, the protector of the forest, cleaned and decorated it specially with the intention of stimulating Kṛṣṇa for pastimes. That forest gave bliss (ramaṇam) to all persons and to Vṛndā since it was marked everywhere with his extraordinary foot prints. Or the forest was attractive to his feet by being filled with charming, soft dust, fragrance of flowers, leaves etc. Since Vraja was within Vṛndāvana, the beauty of his foot prints extended there also. He was glorified by the cowherd boys’ songs. They praised him in various ways with beauty and skill. Or seeing the gopīs’ emotions, he glorified them with songs, not mentioning them specifically out of shyness. His pearl necklace and gold armbands are not mentioned since they were there naturally as his eternal decorations, or because of the overwhelming attractiveness of his forest ornaments. Or, on coming to the beginning of the forest, he put on only forest decorations, in order to dress appropriately for pastimes on the first day of autumn. Balarāma was included among the cowherd boys. He is not mentioned because the gopīs were attracted to Kṛṣṇa. Thus Balarāma was an assistant as one among his entourage.

Assuming a special bhāva, Śukadeva remembers Kṛṣṇa’s dress on that occasion. After describing the gopīs he describes Kṛṣṇa. Śrīdhara Svāmī explains that the intention of the verse is to describe the form that disturbed their minds. By remembering his activities, their minds became disturbed from his forest dress. Thus they could not speak. This verse thus gives another reason why they could not speak by describing his form (rather than just his activities). Or later, with effort they were able to speak this verse since the next verse begins with iti, indicating someone just spoke. He was dressed as a human and a dancer, with colorful clothing (naṭa-nara-vapuḥ). Devatās always wear colorful clothing. Among humans the dancer at certain times wears colorful clothing for dancing. Thus he wore a peacock feather etc. Or he manifested a body which causes all jīvas to dance in joy. Or he had a human body of a dancer. Instead of nara the word vara is also seen. He had a karṇikāra flower on each ear. The karṇikāra flower is yellow and shaped like a lotus. He had two pieces of yellow cloth. In the spring and autumn these flowers are plentiful and create beauty. He wore a vaijayantī garland, which is made of flowers having five colors. He filled the holes of his flute with the nectar from his lips. This means he played the flute with a special bhāva, which enchanted him as well as the gopīs. . He entered the forest of Vṛndā, who was the controller of that forest. She was always eager to make arrangements for Kṛṣṇa’s special pastimes. The forest was charming (ramaṇam) or gave happiness to all because of his extraordinary footprints everywhere. Or the forest produced rati or attraction for his feet since it was soft and covered with flower pollen and petals. He was glorified, because of his beauty and skills, with songs by the cowherd boys. Or he glorifies the gopīs with songs showing his special bhāva (gīta-kīrtiḥ). He did not directly name the gopīs out of shyness. His gold ornaments and pearl necklaces are not mentioned, since he has them all the time. Or on the first day of autumn he entered the forest wearing a forest dress, in order to play freely in the forest. It is not mentioned that Balarāma was with him, though this has been mentioned previously and will also be mentioned later, since having the special bhāva would be embarrassing for him in front of his elder brother. Or because Śukadeva was completely overcome by the activities to be described, mentioning Balarāma would not add to the description of Kṛṣṇa. He is however included in the phrase gopa-vṛndaiḥ.

When the gopis could not speak, Sukadeva, being omniscient, began the description of Krnsa’s pastimes according to mood of their intense love. Krsna was bedecked with peacock feather (barhapidam), had a body of a dancer (nata vara vapuh), with karnikara flower in his ears, in the singular whereas ears in dual form, to indicate that sometimes he wore one kanrikara flower in the left ear and sometimes in the right ear. Use of the word bibhrat (wore) indicates that he purposefully displayed his youthful charms in order to incite the extreme love of the gopis. He wore a vaijayanti garland, made of five different colors of flowers. Since the gopis may criticize the flute for having holes in it, Krsna filled the holes with the nectar from his lips. Though the flute is non-living, the touch of the nectar of his lips brought it to life, and thus it was able to madden the three worlds. Then, recognizing the flute as just unconscious wood and therefore not so capable, the nectar of his lips flowed out from the holes of the flute and entered through the gopis’s ears into their minds. In this way, that nectar from his lips, its mission accomplished, showed its prowess. Vrndavana particularly gave pleasure to his feet (svapada ramanam), more so than Vraja, as it was the place where his feet performed the rasa dance. When the disturbance caused by their remembrance of Krsna’s pastimes decreased after some time, the gopis were able to begin the description of the flute’s song, though they could not do it perfectly. Iti indicates cause as well as the end of a statement or chapter. The sound of the flute, like the rasa dance, attracted not only the gopis and Radha, but all living entities (sarva bhuta manoharam). The gopis embraced one another, with the realization of their common emotions. " O friend, talking about Krsna’s embrace, you have read my mind, for I also want to speak about this."

“All the gopīs” indicates all strengths of attachment such as deep, medium and light. They mentally embraced Kṛṣṇa who had overpowered their hearts. Or out of awakening of love they mistook their friends as Kṛṣṇa and embraced them. Or they embraced each other because their natural love had awakened. This was because the sound of the flute was attractive to all beings, what to speak of only the gopīs. Citsukha accepts the version with abhirebhire (they attained complete attraction). O king! Śukadeva addresses Parīkṣit for the same reasons mentioned previously.

Saying this, or in this way (iti), situated far away or close by, all of them (sarvā), with varying degrees of love, or all in a group, began to describe the sound of the flute since they had already described him. They should speak only what was not already mentioned. When later his form and dress are again described it should be understood that it is mentioned as an assistant to other statements. Or the statement describing Kṛṣṇa’s activities (kṛṣṇa-ceṣṭitam) can be correlated with the statement in verse 20, varṇayantyo mitho gopṣaḥ krīḍāḥ: they narrated to one another the playful pastimes of the Lord. (The playing of his flute is one of his activities). They mentally embraced (abhirebhire) Kṛṣṇa who had overpowered their hearts. Or they embraced each other because their natural love had awakened. Or they embraced the sound of the flute with affection: they became attached to the sound. This was because the sound of the flute was attractive to all beings, what to speak of only the gopīs. Citsukha accepts the version with abhiremire (instead of abhirebhire--they attained complete attraction). O king! Śukadeva addresses Parīkṣit for the same reasons mentioned previously. Or Śukadeva exclaims, “O king shining with this special bhāva.” He takes him by the hand, raises him up and embraces him

(My sole goal is the gopis , who went out of their houses, attracted by the shower of nectar from Krsna’s flute, and whose sweet words enable us to drink that nectar also.) "O friends! Our senses which the Lord has given us are useless if we remain inside our houses. Therefore, let us leave our houses and quickly go to the forest. Directly experiencing that astonishing thing by our sensory actions such as seeing, our lives will be successful." That is what is conveyed in this verse. Aksanvatam is an archaic usage. "The goal of the eyes for those who see (aksanvatam) is that alone and nothing else. There can be no other opinion--other opinions are worthless. The goals of the senses is to relish the faces of Krsna and Balarama, sons of the king of Vraja, served by his favorable flute." That is the superficial meaning. That however is to hide their true feelings. "If our mothers in laws or sisters in laws nearby hear our talks, what do we have to worry, because all the men and women of Vraja speak of the sweet face of Balarama and Krsna in this way." With this intention they speak in this way, but the hidden implication is, "Those faces give bliss to everyone in Vrndavana forest, even the birds and beasts—but not to us, staying in our houses far away." Vasudeva had said, "O Nanda, think of my son Balarama as if you were his father." Sb 10.5.27. Sukadeva says, "The mother and father Yasoda and Nanda called out to Balarama and blessed him." 10.65.2. By such statements therefore Balarama was commonly known as Nanda’s son, and therefore in this verse the gopis describe him as such. However there is a hidden meaning here. Vrajesa sutayoh vaktram can mean that face among the two of them, which was turning back (anu), playing the flute. The word va with nipitam (to drink with intensity) indicates seeing, touching, hearing, smelling or (va) tasting that face. If the alternate reading vai is used, it means certainly they taste. Those who, giving up shyness and steadiness, drink that face playing the flute, among the two sons who herd the cows in the forest surrounded by their friends, have fortunate senses and not others. Therefore we intend to say, "Today let us give up all family tradition, shyness and control." "Yes, let us see, touch, hear and smell him, but how is it possible since we are so shy?" "That face releases glances (kataska moksam) upon those who are attracted to him (anurakta). He will search you out, and release the arrow of his glance. When it strikes you, you will become agitated with love, and forget your shyness and control. Then you will look without shyness on that face."

Śrīdhara Svāmī does not accept the words “the gopīs said” since in his commentary he says that they speak a description of Kṛṣṇa. It would be unsuitable that he would repeat what is already understood by the words “the gopīs said” or that he was explaining the phrase “the gopīs said”. However the words “the gopīs said” are accepted everywhere. yāsāṁ budhyeta vāg artho yāsām eva prasādataḥ gopīḥ prapadye tā yābhiḥ sa gambhīrāśayo jitaḥ I surrender to the gopīs by whose mercy one can understand their words and by whom his deep heart was conquered. (Jīva Gosvāmī’s verse) Though they describe Kṛṣṇa with Balarāma externally and try to hide their real emotions for Kṛṣṇa, they cannot do so, because of the particulars revealed through their natures. That is shown in the verses. Śrīdhara Svāmī’s commentary is explained. We know the success for those who have eyes. We do not know any other result than seeing our beloved. “What is that result?” It is what is experienced (nipītam). It is what is tasted (juṣṭam). Or, what is tasted by them when they experience the face is the result. How can others understand the object of what is experienced and tasted? They do not clearly state the object, but say only “this” in the beginning, making it secret, since it would be unsuitable to mention the name abruptly. Or, they are unable to state clearly the details since they are overcome by intense prema. The two boys bring the cows to the forest with their friends. We do not know any other result for with eyes than seeing Kṛṣṇa in this way—not with others, not any other time. Let other people understand what they want! This is sarcastic speech. Our eyes have had no success since now we cannot see him. Wherever, whenever, however they can experience his face, their eyes will be successful. They reap this result when they go to the edge of Vraja. This expresses their desire to see him playing in the forest. Their pain arising from lack of satisfaction, arising from deep prema, is their very nature. O friends! You know this directly. The two enter one forest after another (anu) by making sweet signals. They are the two sons of Nanda. Hari-vaṁśa says vasudeva iti khyāto goṣu tiṣṭhati bhūtale: Vasudeva stayed on earth among the cows. Thus Vasudeva also had many cows and could be called vrajeśa, as Balarāma’s father. Or vrajeśa can refer only to Nanda, since he regarded Balarāma as his own son. Vasudeva said: bhrātar mama sutaḥ kaccin mātrā saha bhavad-vraje tātaṁ bhavantaṁ manvāno bhavadbhyām upalālitaḥ My son Baladeva, being raised by you and your wife, Yaśodā, considers you his father and mother. Is he living very peacefully in your home with his real mother, Rohiṇī? SB 10.5.27 When Balarāma returns to Vraja it is said: pariṣvaktaś cirotkaṇṭhair gopair gopībhir eva ca rāmo ’bhivādya pitarāv āśīrbhir abhinanditaḥ Having long suffered the anxiety of separation, the cowherd men and their wives embraced Lord Balarāma. The Lord then offered respects to his parents, and they joyfully greeted Him with prayers. SB 10.65.2 (Another meaning is presented) Verse 4 showed their desire for Kṛṣṇa. This is indicated in this verse by the description of the flute playing. Among the two sons of Nanda, he follows behind (anu) and his mouth tasted by the flute and his face is experienced by those with eyes. Kṛṣṇa is famous for having the flute in his mouth and following behind Balarāma since he is younger. “Face” is also in the singular. The eyes constantly (ni—pītam) drink the nectar of his face, which is like the moon. The word vai indicates it is well known. Or, the face is served (juṣṭam) by the flute constantly (anu) since it can be separated from the verb in poetry. The word vai can indicate completely, as in the expression māninām anutāpam vai (SB 10.20.12) identifying with the body completely. Some versions have vā instead. Nipītam can also mean his face is seen intently or devotedly by those with eyes. The face is experienced by the flute with a release of affectionate side glances. Or the face is tasted by you people who have attraction. Or his face releases glances at people with attraction since he becomes happy by their service. We know the success of all the senses (for persons who possess senses) in experiencing and tasting his face. Success for the activities of the senses is accomplished by the highest fruit of tasting his face. The deep meaning is this. We do not know any other result except this. What is this? It is that which is seen with love (juṣṭam). What is another result? It is drunk by them-- by their drinking the nectar of his lips. The success is that they drink the nectar of his lips. Or, the result for the eyes is that his face is experienced and tasted but the mouth is drunk by the tongue, not the eyes. Vai can mean “but.” Thus what can be said of the result for such people? But they could not say this because their throats were choked with tears just by remembering Kṛṣṇa. Or, Śukadeva had emotions of deep prema similar to these exalted gopīs.

Śrīdhara Svāmī does not accept the words “the gopīs said” since in his commentary he says that they describe Kṛṣṇa. It would be unsuitable that he would repeat what is already understood by the words “the gopīs said” or that he was explaining the phrase “the gopīs said”. However the words “the gopīs said” are accepted everywhere. yāsāṁ budhyeta vāg artho yāsām eva prasādataḥ gopīḥ prapadye tā yābhiḥ sa gambhīrāśayo jitaḥ I surrender to the gopīs by whose mercy one can understand their words and by whom his deep heart was conquered. They begin by referring indirectly to Kṛṣṇa as idam param phalam (this highest result for the eyes) to keep the object of the highest result confidential. They should not directly reveal their sentiments for Kṛṣṇa. Or they cannot directly indicate him because they are controlled by a manifestation of intense prema. We do not know a higher sight for the eyes in Vṛndāvana, or any other sight for the eyes, though other people may know something else. They speak with irony: since we cannot see him now our eyes are not functioning successfully. Though they were about to see his face in some place, at some time by some means in Vraja they were eager to see his face while he played the forest. Their pain arising from lack of satisfaction, arising from deep prema, is their very nature. O friends! You know this directly. The two enter, one following the other, or they enter one forest after another (anu) by making sweet signals. They are the two sons of Nanda (vrajeśa-sutau). Hari-vaṁśa says vasudeva iti khyāto goṣu tiṣṭhati bhūtale: Vasudeva stayed on earth among the cows. Thus Vasudeva can be called Vrajeśa and his son is Balarāma. Or he can be regarded as the son of Nanda, helping Kṛṣṇa. Though it is not suitable that Balarāma be described when describing Kṛṣṇa’s flute attracting the gopīs, mentioning him adds special beauty since he assists Kṛṣṇa at this time. Also to cover up their special attraction to Kṛṣṇa out of shyness, they mention Balarāma along with Kṛṣṇa usually. Thus though the gopīs speak of one cowherd face, both faces were present, since they were always together. One face represents the type (jāti) of both. Thus when one of the two is mentioned, it means both of them. This is explained earlier in SB 10.8.23. Among the two sons of Nanda, he follows behind (anu) and his mouth tasted by the flute and his face are experienced by those with eyes. Kṛṣṇa is famous for having the flute in his mouth and following behind Balarāma since he is younger. “Face” is also in the singular. The eyes constantly (ni—pītam) drink the nectar of his face, which is like the moon. The word vai indicates it is well known. Or, the face is served (juṣṭam) by the flute constantly (anu) since it can be separated from the verb in poetry (Pāṇini 1.4.82) or the face is served by the flute suitably (anu). The word vai can indicate completely, as in the expression māninām anutāpam vai (SB 10.20.12) identifying with the body completely. Some versions have vā instead. Nipītam means his face is seen intently or devotedly by those with eyes. The face is experienced while he releases affectionate side glances. Or the face is tasted by you people who have attraction and who release glances. Or his face releases glances at people with attraction since he becomes happy by their service. We know the success of all the senses (for persons who possess senses) in experiencing and tasting his face. Success for the activities of the senses is accomplished by the highest fruit of tasting his face. Or we do not know any other result except this. What is this? It is that which is seen with love (juṣṭam). What is another result? It is drunk by them-- by their drinking the nectar of his lips. The success is that they drink the nectar of his lips. jitaṁ sarvaṁ jite rase: if one is able to control the tongue, then one is understood to be in full control of all the senses. SB 11.8.21 According this reasoning they become successful by tasting his tongue in his face. They reach all success of all the senses by drinking the nectar of his lips which is most worthy of worship. By attaining that, everything else is useless. This is stated with great longing. Or, the result for the eyes is that his face is experienced and tasted but the mouth is drunk by the tongue, not the eyes. Vai can mean “but.” Thus what can be said of the result for such people? But they could not say this because their throats were choked with tears just by remembering Kṛṣṇa. Or, Śukadeva had emotions of deep prema similar to these exalted gopīs.

"How will we deal with disgrace? We should not go." "No, we should go anyway." "But because he is with Baladeva, our motive in going will not be fulfilled. Therefore from far off, through the leaves of creepers, we will taste the nectar of his beauty and songs and see him dance. Then we can quickly return home." That is the intention of this verse. With tender mango leaves, (cuta prabala), peacock feather (marhah) and bunches of flowers (stavaka) in the hair; in the two ears lotus buds; in the right hand a play lotus; and around the neck a garland; wearing sewn garments, colored red, yellow and black like those of an actor, Krsna and Balarama displayed colorful dress. Among the boys who were dancing, they also danced and sometimes they sang (gaya manau). Gaya manau can also mean they were satisfied (mana) with the singing of others (gaya) who praising them. Or it can mean that they were proud of their singing. "No one in the three worlds can sing like us. Who are you insignificant cowherd boys?"

Wondering whether they should reveal their true emotions by double meanings, they conceal their emotions with great attention in their second verse. Because of intense feelings of love, they can no longer conceal that love in the third verse. In the fourth and other verses they can conceal their love to some degree. They were decorated on their heads with bunches of flowers, within which were placed mango buds and peacock feathers. In their ears were the inner portions of water lilies and in their right hands were play lotuses. They had garlands over their clothing. In this way they were attractively dresses (vicitra-veśau). They appeared glorious amidst the gathering of cowherd boys in various ways (vi—rejatuḥ) or because of the beauty of each item. They were like two dancers in a dancing arena. This indicates that they would also dance and express their joy at will, and that even the other cowherd boys would play instruments and dress skillfully. Otherwise dancing would not be so beautiful. They would sometimes be amidst the other boys because of unsteadiness due to absorption in their playing. They were more splendid here (alam) than in Vraja because in Vraja they could not sing or dance with the same abandon. Or, there is a gradual development in the first five verses that the gopīs speak. The intention of the previous verses was “The cowherd boys had success for their eyes since they could see Kṛṣṇa at that time.” The present verse expresses “Not only do they see him, but they experience happiness with singing and dancing amidst a group where the two are present.” They also sang. Or, they were glorified by others singing special songs. Or sometimes they would sing, since they became too absorbed in dancing. Or, they became proud in singing. “Of you two who is the best singer? Let the best one sing.” In this way the two became proud and sang. This is a particular sweetness of their play. Oh! These cowherds are fortunate and we gopīs are unfortunate, since we cannot freely associate with them because of fear of public opinion! This unspoken statement is understood from their emotions. This statement may be added to later verses also. The reason for frustration has been stated here: fear of public opinion.

"This flute has created a problem for us, causing us an ocean of disgrace." That is expressed in this verse. "What piety (kusalam) did this flute perform?" Though the words vamsi and murali are in feminine gender, the word venu is in the masculine, like the word dara a masculine word meaning wife. "What piety did it perform to be Krsna’s wife? None, because it took birth as a non moving creature, a low birth from performing no pious acts. But yet the flute drinks the nectar from Damodara’s lips. Can that be tolerated? No, because it should be the gopis right to taste that nectar (gopikanam) . Krsna was born as a gopa and we were born as gopis. Therefore we have a right to taste those lips, not the flute." "Furthermore the flute has the audacity to manifest a male in form and still enjoy (bhunkte). Furthermore this enjoyment is done in unmarried state, utterly alone, and by thievery. The flute announces it to the real owners of the treasure, ourselves, by blowing air. But this is not just regular blowing air, it is the sound of enjoyment the flute gets by association with Krsna. And we must keeping hear that sound! So much the flute enjoys that it leaves nothing left, not even a morsel. Though we are the rightful claimants of that lip nectar, the flute leaves nothing for us, not even his remnants. Such is his audacity!" "Those who have not performed pious acts act in the same way. Because (yat) the rivers see the flute enjoying the nectar of his lips, became happy, blooming with lotuses, like standing of hair on end (hrsyat tvacah). All the trees, pouring out their honey, seem toweep in joy. Just as devotees on hearing the glories of the Lord shed tears of joy and have their hair stand on end, hearing the sound of the flute, the rivers and trees become decorated with the symptoms of bhava. The rivers are female friends of the flute and the trees are male friends or messengers. The flute, rivers and trees are all our enemies. Therefore where should we hide the flute, so that it does not get the nectar of Krnsa’s lips? This sancari bhava of envy manifested in the gopis.

What to speak of the cowherds’ fortune, what can we say of the flute’s good fortune? The gopīs express their desire mixed with envy, while imaging falsely because of madness produced by the appearance of mahā-bhāva. Though it appears to us to be a dry piece of wood, how many pious acts has this flute performed in this life or previous lives? We will also do such pious acts for that purpose to get such benefit. Sma indicates dismay. The characteristic of the flute is described beginning with the words yad avaśiṣṭa-rasaṁ. By addressing Kṛṣṇa as Dāmodara they suggest that he and they had a special, natural relationship which started from early childhood, with the first sprouts of their present emotions. Therefore we gopīs should enjoy him. The flute is male (ayam) and thus unsuitable to enjoy with him. The flute always drinks the nectar of his lips as its only enjoyment, since we do not see it enjoying anything else. “We see that after associating with Dāmodara’s lips, the lips are still juicy, not dried up. Therefore the flute did not enjoy the lips at all.” No. What remains now is only a taste. It drank the nectar completely and left only a trickle. O gopīs! Therefore the flute’s birth is fortunate and not our birth. Why were you gopīs born? Instead of saying “our” they say “of the young gopīs (gopīkānām).” This indicates that though others may enter into their group they are not qualified for his lips since they do not have the special qualifications of the gopīs. They say this out of their identity as gopīs and out of special taste for beauty. Another meaning is that they protect (gop) their bodies by aspiring for him alone. That flute not only resides constantly in your lover’s hand, heart and mouth, but enjoys the nectar of his lips without taking your permission. Or, how does the flute enjoy? It does not leave any remains at all (another meaning of avaśiṣṭa) as in the phrase vaṣṭi-bhāgurirallopam: vaśiṣṭa means “remaining” and avaśiṣṭa means “not remaining.” Not even a drop remains. Or, because of continuing to have (avaśiṣṭa) great attraction (rasa), the flute never ceases to enjoy. Or, what is the nature of that nectar? Giving up all other rasa, the flute enjoys even the rasa remaining for the gopīs. The symptoms of the flute’s pious acts are mentioned. Seeing the good fortune of the flute, the rivers, endowed with great fortune, have their hairs standing on end in the form of lotuses blooming. Or, “the remaining rasa” can be part of this statement if the word yat does not mean “because.” The rivers taste the remaining rasa (the sound) of the flute (yat) since their hairs are standing on end. Moreover, seeing the good fortune of the flute, coming from the same plant family, all the plants release tears of honey, just as forefathers seeing the good fortune of their family members release tears. Another meaning spoken out of hatred appears. “In such company, what fault does the flute alone have?” The flute should be kept hidden (gopyaḥ) somewhere at least.

"The forest of Vrndavana , being the place of Krsna’s pastimes, has now become even more sweet. Therefore let us go there to see that place. There is no fault in doing that." With this in mind one gopi spoke. "Vrndavana is spreading the glories of the earth especially (vi tanoti =visesa bhavena tanoti), as being better than svarga because (yat) the earth is marked with the lotus foot symbols (laksmi) of flag and thunderbolt of the son of Yasoda (Devaki nandana). This is not possible even in Vaikuntha. (Visnu purana says that Yasoda had two names, Yasoda and Devaki, and therefore she became friends with Vasudeva’s wife Devaki. Thus devaki nandana here means yasoda nandana.) Such a cow pasturing area is not possible in Vaikuntha. In that place, hearing Krsna’s flute, the mad peacocks dance. Seeing that, all living entities on the slopes of the hills become stunned (avaratani). In that place, the peacocks pray for Krsna to play his flute, saying "Make us dance." According to the rhythm established by Krsna, the peacocks make a circle around Krsna and dance, while Krsna dances and plays his flute. Satisfied with Krsna’s flute playing, the peacocks give their tail feathers as a sign of appreciation. Krsna, in the custom of normal musicians, takes the gifts with glee and puts them in his turban. "Oh friends, taste that dancing, singing and flute playing. We desire to see all those creatures, beasts and birds, the deer and doves, assembled on the hill slopes, who have become stunned in bliss."

What more can be said about the flute which is held in his hand? Let us describe the glories of Vṛndāvana instead. O friend! Vṛndāvana spreads glory of the earth more than (vi--tanoti) Vaikuṇṭha since (yat for yasmāt) it is marked with his footprints. Or Vṛndāvana, which (yat) is marked with his footprints, spreads more glory. It has become glories by wealth produced from the foot prints of Kṛṣṇa. In this way it is incomparable. It has his foot prints directly, not with shoes on. Thus Vṛndāvana is most fortunate. The gopīs call Kṛṣṇa the son of Devakī because of the words of Garga: previously he was known as the son of Vasudeva. (SB 10.8.14) By this they also hide their feelings. Govinda means the controller of cows according to the dictionary. They use the name in that sense, since Kṛṣṇa became famous as Govinda only after the bathing ceremony by Indra. In the next verse however they cannot hide whom they mean since they call Kṛṣṇa the son of Nanda in that verse. Or, Devakī can also be another name of Yaśodā. Viṣṇu Purāṇa says: dve nāmnī nanda-bhāryāyā yaśodā devakīti ca ataḥ sakhyam abhūt tasya devakyā śauri-jāyayā The wife of Nanda had two names, Yaśodā and also Devakī. Therefore it was natural that she [the wife of Nanda] develop friendship with Devakī, the wife of Vasudeva. Govinda also means the king (indra) of the cows (go) with the vi indicating special qualities. In other words the gopīs refer to the son of Yaśodā who is surrounded with cowherd boys and cows and decorated with forest ornaments. The good fortune of Vṛndāvana is that it possesses the object of our desire. The peacocks dance because they mistake him for a dark rain cloud gently rumbling. Otherwise they would remain motionless in bliss like others. This shows their extraordinary nature. Or, related to these peacocks with the highest natural affection for Kṛṣṇa, all others of the species by the mercy of the Lord even in other places developed affection for clouds which were similar to Kṛṣṇa, after hearing (anu) Govinda’s flute. This phrase (hearing his flute) should be understood in the following verses also. Or, Vṛndāvana was filled with the peacocks mad because of the mantra-like sound of the flute (venu-manu), which was most attractive. Though the flute was the cause of the peacocks dancing, it was the cause of others remaining stunned. However, they all stood like an audience watching (prekṣya) the peacocks dance. Or, they remained stunned on the top of the hill since it was most attractive, being the sitting place of the Lord. Or, prekṣā can mean a festive performance according to Viśva-prakāśa. Thus the other living beings remained stunned on the top of the hill, at high places, to see the performance. Or, the peacocks, on seeing that Kṛṣṇa had come to the forest with peacock feather decorations on his head, out of affection danced. Seeing that (matta-mayūra-nṛtyaṁ prekṣyā), he began playing his flute in joy. After that (anu), all creatures, being detached (avarata) from all other goals except seeing Govinda dance, remained on the top of the hill. In this way Vṛndāvana showed itself superior to Vaikuṇṭha. Ah! We cannot attain such perfection. We are most unfortunate. Their characteristic of dissatisfaction, which is natural to prema, should be understood in all the verses.

"Alas, though we are more intelligent, our life has become useless since we cannot meet Krsna. The less intelligent creatures have become successful in meeting Krsna. How is that?" This sentiment is expressed in this verse. Sma is an exclamation of astonishment or lamentation. "Oh (sma), we do not have such good fortune." There are two readings: venu ranitam and venu riphitam. The meaning is the same: sounded on the flute. "Hearing the sound of the flute, the does with affection nourished Krsna (pujam dadhuh) with their glances. So then what to say of the glances that we intelligent beings have given to Krsna? Their husbands, the krsna sara (those who take Krsna alone as object of worship) also worship him. Seeing their wives so attracted to Krsna, the husbands become overjoyed thinking that their married life has become successful by this, and following their wives, go to meet Krsna. But we are so unfortunate that just by a trace of anything connected with Krsna, our husbands become violent."

What to speak of the glory of Vṛndāvana, the shelter of all jīvas dear to the Lord, let us describe the good fortune of the animals that take shelter there. The does’ knowledge (gatayaḥ) is without discrimination (mūḍha). Another version has matayaḥ. Though the does wander through the forest, they are seen by him. They worship the son of Nanda. Nanda indicates the he is endowed with all great qualities, giving joy. They mention Nanda’s name even though he is an elder, since their minds are bewildered by uncontrollable agitation. Kṛṣṇa has accepted colorful attire of forest garland and head ornaments of peacock feathers and guṣja beads. Instead of raṇitam the alternative riphitam (guttural sound) is seen. This indicates the first sounds of the flute, before rāgas are played, and imitates the sound of the flute. Kṛṣṇa-sāra (the male deer) also means those who are Kṛṣṇa’s most excellent beings, and thus is a criticism of the gopīs’ husbands. It is suggested that they worshipped him with all ingredients of worship. They nourished (dadhuḥ) worship. This means that they performed worship more thorough than others. That worship was done with excellence (vi—racitam). The reason for superiority is given. They performed the worship with glances filled with affection. Love is the greatest treasure in worship. The plural is used to indicate that the does worshipped together. The word sma indicates astonishment or lamentation. “Ah! We do not have such good fortune!” Or, understanding (ākarṇya) by hearing that he was playing the flute, controlling (dadhuḥ) Kṛṣṇa who was dressed nicely by affectionate glances, they performed affectionate service. Nanda-nandanam becomes to object of the verb ākarṇya in the manner of dadhad darśaṇa-curura-śabdam aśvaḥ (Māgha-kāvya) and saṁśṛṇvan vadamānāṁs tān rāvaṇasya guṇān janān (Bhaṭṭi-kāvya).

What to speak of the glory of Vṛndāvana, the shelter of all jīvas dear to the Lord, let us describe the good fortune of the animals that take shelter there. The does’ knowledge (gatayaḥ) is without discrimination (mūḍha). Another version has matayaḥ. Though the does wander through the forest, they are seen by him. They worship the son of Nanda. Nanda indicates the he is endowed with all great qualities, giving joy. They mention Nanda’s name even though he is an elder, since their minds are bewildered by uncontrollable agitation. He has accepted (upātta) colorful dress, given by the boys-- forest garland and head ornaments of peacock feathers and guṣja beads. The deer perform worship in a special way (viracitām) with their affectionate glances since they do not have the materials for worship, and since he is the essence of worship for them, being the crown jewel of rasa. Glances is in the plural to show respect and to indicate a sequence of glances. Sma indicates astonishment or lamentation: we do not have such good fortune! Or hearing the sound of the flute, the does, which, by being born in Vṛndāvana, had attained all knowledge and skill, now became unintelligent (mūḍhā) in the use of their internal and external senses (gatayaḥ). Or they could not move at all (mūḍha-gatayaḥ). They stumbled around or became stunned. The does which always stayed in the forest performed worship using affectionate glances. Or overcome with desire they could not judge anything or do anything. They just looked at Kṛṣṇa as if performing worship with reverence. The does (etāḥ) are like us. They are with their husbands the bucks (saha-kṛṣṇa-sārāḥ), but even the bucks at least once (api) worship him. They are best (sāra) for Kṛṣṇa. They thus criticize the cowherds who do not service Kṛṣṇa in this spontaneous way.

"Since we are ordinary gopis and Krsna is a gopa, our attraction for him is not so improper, for even the wives of the devatas become attracted to the gopa Krsna, though he is appearing among the human species. How astonishing that is." "Seeing the form and qualities of Krsna (rupa sila) the heavenly women become blissful (vanita utsava). Their hearts overcome with desire (smara nunna sara), the faint (mumuhuh) falling from the laps of their husbands riding in the sky in airplanes (vimana gatayah)." The symptoms of their bewilderment is described. "The flowers fell from their hair, and the hair became undone. Their belts loosened (vinivya)." These are the symptoms of mottayita. When through thoughts or news of the beloved , the heart becomes absorbed in the beloved and desire appears, it is called mottayita. "The intelligent devatas, understanding the condition of their wives, did not rebuke them, but rather thinking themselves most fortunate, brought their wives to Vrndavana to see Krsna. But our husbands become violent. Thus the low born deer and the high born wives of the devatas are fortunate, but we, in the middle position as humans, are most unfortunate."

What to speak of the glories of those who live in Vṛndāvana near Kṛṣṇa, how can one describe the good fortune of those flying in the sky? They see Kṛṣṇa, he who attracts the heart, with a form and natural qualities giving joy to women, suitable to cause anurāga in them. They hear a song with pure rāga (vivkta), or indicating mādhurya-rasa, sounded by his flute. They came suddenly in their airplanes with their husbands since they were not suitable for direct association with Kṛṣṇa. They were constantly afflicted with desire for him by seeing him, since it is mentioned that they saw his form. Their enchantment was further enhanced by hearing the song of his flute. Or, whenever they saw him at that time they became bewildered. Seeing and hearing were both causes of bewilderment. The actual order should be first hearing and then seeing. When this happens, they are not able to descend from their airplanes and approach Kṛṣṇa, because of their bewilderment. This is the anubhava called moṭtāyita. kānta-smaraṇavārtado hṛdi tad-bhāva-bhāvitaḥ prākaṭyam abhilāśasya moṭṭāyitam udīryate Moṭṭāyita refers to the appearance of desire in the heart from the arousal of the sthāyi-bhāva, from remembering or hearing about the beloved. We are most unfortunate for not having seen the astonishing ocean of all auspiciousness, who bewilders the foolish female deer and the most intelligent wives of devatās. Or, we are most unfortunate for not seeing him as he wanders in the forest, whereas they are fortunate.

"One cannot say that the bewilderment from the flute is generated only from conjugal desire of the female only. See the example of the cows and their calves. In fearing of spilling the nectar, the cows have raised their ears like cups to hear the flute. The cause of bewilderment is not just vatsalya bhava towards Krsna, for their calves also, without vatsalya bhava, were bewildered. The calves who had just begun to drink their mothers’ milk, on hearing the flute, perked up their ears to drink that sound also. Not able to drink the udder milk, the milk fell from their open mouths and they stood as if stunned. The cows brought Govinda close with their glances, and through their eyes, they had him enter their hearts. Touching him in their minds (atmani), their minds placed him on their laps out of vatsalya bhava. They then become stunned. Out of bliss tears fell from their eyes. In this way, all living entities had love of Krsna. They are all fortunate to meet Krsna, but we are unfortunate, being separated from him."

Other gopīs speak three verses. First they describe the cows which have maternal affection which is contrary to their mādhurya-bhāva, in order to hide their emotions as previously. However their words are suitable since there is no contradiction with the general affection that mothers show. The word ca means “even.” Even the cows, famous among the people for not being able to distinguish the good from the bad, relish the sound of his flute, which comes from his moon-like mouth endowed with more nectar than billions of moons (which also have nectar). Kṛṣṇa is the intense embodiment of the highest bliss. Sma indicates astonishment. They simply stand, stunned, overcome by sāttvika-bhāva. Govinda indicates their master (lord of the cows). They touch him with affection. Śrīdhara Svāmī accepts the version snuta-stana-payaḥ. The calves have mouthfuls of their mothers’ milk flowing from their mouths. Or, from some of the calves’ mouths the milk from their mothers flows, whereas other calves’ mouths have grass in their mouths (kavalāḥ) which they have been chewing. Their eyes begin to flow with tears which were previously filling their throats. They embrace in their minds, via their eyes, Govinda, or they offer themselves to Govinda in their minds since they cannot see him directly since their eyes are raining (kalāḥ) with tears. Since their eyes are covered with tears, they see him in their minds. We are most unfortunate since we cannot even see him.

Four verses describe the words of another gopī (describing cows, birds, rivers and clouds). Or one can explain the verse as a continuation of what was previously written. In other words as the verses proceed, lesser and lesser individuals are gradually described. Though there should be nothing inferior in Vraja to the women from heaven or spiritual objects (flute or dhāma), because of the colorful motions of prema, they make these verses by selecting certain details (to express their misfortune). There is good fortune for exalted women of heaven. Thus there is also good fortune for the animals, humans and cows who can see Kṛṣṇa. Thus now cows are described. The word ca means “but.” Previously Kṛṣṇa’s moonlike face was described as full of nectar. By mentioning his face, nectar is suggested. Kṛṣṇa has a form of the highest bliss. Therefore there is nectar flowing from the flute song emanating from his moon-like face. Sma indicates astonishment or certainty. They simply stand, stunned, overcome by sāttvika-bhāvas. Govinda indicates their master (lord of the cows). The cows touch him with affection. Even though the calves were with them, the milk stopped flowing from their udders, and even though they had grass in their mouths, they did not chew or swallow, but simply stood there (śāvāsnuta-stana-payaḥ kavalāḥ). The accepted version has śāva. Milk coming from their udders (snuta-stana-payaḥ) out of affection for the Lord as a calf, with grass in their mouths, the cows remain stunned. This is the accepted version. Taking the word śāvāḥ to make a separate statement the meaning is “From some of the calves’ mouths the milk coming from their mothers flowed out, whereas other calves’ mouths have grass in their mouths (kavalāḥ) which they have been chewing.” The cows embrace Govinda in their minds, via their eyes, or they offer themselves to Govinda in their minds since they cannot see him directly since their eyes are raining (kalāḥ) with tears. Since their eyes are covered with tears, they see him in their minds. Or the cows remain standing, touching Govinda by licking him, using their eyes (dṛśā). We are most unfortunate since we cannot touch him. The deer and heavenly women heard the flute and saw his form. The cows simply on hearing the flute developed love. That is the difference between them indicated by the word ca.

"But the calves are material and they are tasting material pleasure. The atma rama munis fixed in knowledge and renouncing all feelings, cannot be not disturbed by Krsna." " But this is not true. Krsna also attracts them with his sweetness. Oh (bata), it is surprising, mother (amba --out of affection friends address each other in this way). All these birds must be munis. See how they sit in the forest with closed eyes in silence. Perched on the branches of the trees, they are listening to the flute. The branches hearing the flute song and by the touch of the munis feet begin to sprout new leaves (ruchira prabalan) out of ecstasy. This song agitates the whole universe (kala venugitam). It arises only from Krsna (krsna iksita), not from Indra, Brahma, Siva or Visnu, as it is unique, being very old, traveling all over without obstruction, continuing for a long time, and being fully conversant with musical theory. Is it possible anyone else can sing like this? No, this song arises from Krsna alone ( tad udita). Neither Brahma, Visnu nor Siva can make this song. They cannot even understand the musical science created by Krsna. Thus the birds or munis, with eyes closed, are absorbed in relishing this never before heard song. They have given up all other talk, even the talk of munis about brahmananda, being absorbed in bliss of Krsna."

What to speak of the good fortune of the cows, protected by Kṛṣṇa, how can we describe the fortune of the birds in the forest? The majority of the birds are like this, but some like the peacocks are equal to the greatest devotees with their dancing in prema (not sitting in the tress). Bata expresses astonishment. O mother! It is the nature of those immersed in prema to make such statements. Since no mother is present, they address their friends in this manner. The birds climb on the branches of trees in order that they can see Kṛṣṇa or so that Kṛṣṇa can see them. The branches have attractive buds which create an obstacle to seeing him, and are the object of enjoyment. Seeing him, they listen to the song of his flute with half-closed eyes. This indicates lassitude because of intense prema. No words except the words of the flute are sensed by their minds, ears or voice. Thus they are fortunate. An interpretation according to prema may also be given. The word rucira also indicates that the buds have offered all activities to their Lord. The word prāyaḥ indicates conjecture (perhaps it is so?). The word munayaḥ refers to ātmārāmas like the Kumāras who have become birds in this forest, in order to see Kṛṣṇa. They hear the sound of the flute which they imagine in many ways, since they have never experienced the sound before, whose qualities are continually increased (uditam) by Kṛṣṇa. This shows that the sound of the flute attracts them away from brahma-samādhi. That song of the flute attracts the universe (kala). These sages have surpassed the branches of the Vedas filled with various subdivisions. They have given up study of the Vedas. Their consciousness of their bodies has disappeared (mīlita-dṛśaḥ—closed vision). They are silent on all topics except Kṛṣṇa. What else can they deliberate on?

One may say that the attractiveness of the flue is mainly among women. This verse answers. "All the rivers exhibited whirlpools, indicating their course had been interrupted by the influence of kama. They stopped flowing towards the ocean, their husband, because they had lost all shyness and control. With swelling of the excess water into waves, they embraced the two feet of Murari standing motionless on the river bank, held him in their bodies and offered him lotuses." Kamala besides meaning lotus can mean water according to Amara kosa. So the sentence can also mean that they offered him water. In other words they used their own water to offer him padya, foot wash. Or kamala can also mean wealth. "In order to please Krsna they offered all their wealth to him. The ocean did not hold any hatred towards those rivers for their love of Krsna, unlike our husbands. How unfortunate we are."

Unable to hide their emotions as previously, they attribute their emotions to an inanimate object out of intensity of attraction in attempting to describe their rasa. The rivers like Yamunā and Mānasa-gaṅgā come close and listen with attention (upadhārya) to the attractive sound at that moment. That song, having a rāga of the highest bliss, frees one from all suffering by his association (Mukunda), since he is the crest jewel of all bliss. The whirlpools indicate their agitated state. They offer lotuses in their waves acting as arms. They grasp Murāri’s feet with their waves, covering (sthagita) them by their embrace. The sequence is this. They first offer cut lotuses by the currents. Then they grasp his feet. Then they embrace him surrounding him with water up to his chest by increasing the flow of water. The rivers, hearing the song of the enchanting flute, give up their natural course flowing to the ocean and, offering lotuses dear to Kṛṣṇa, born from the rivers and particularly born in Vṛndāvana, become fixed by embracing with their waves acting as arms the feet of Kṛṣṇa. According to Vāmana Purāṇa, the Lord killed the ancient demon named Mura. The gopīs thus allude to the fact that Kṛṣṇa is like Nārāyaṇa, according to Garga’s words. In worshipping him, their vow of chastity is not broken. The rivers are most fortunate and we are not, since hearing his flute does not help us reach perfection. We cannot stop our course of household duties. We do not have many long arms by which we can embrace even one of his feet to our breasts. The truth is this. When the moon of Kṛṣṇa played his flute song, dry branches blossom, rocks melt and rivers stop flowing. When the water stops, the rivers swell and their waves overflow with lotuses, touching his lotus feet. Seeing this, the gopīs see the rivers as conscious entities.

Enough of speaking about conscious beings. One should describe the fortune of the rivers which are unconscious entities. The rivers like Yamunā and Mānasa-gaṅgā come close and listen with attention (upadhārya) to the attractive sound at that moment. At that moment (tadā), on hearing the sound of his flute, the rivers’ currents stopped and went in whirlpools. Mura was a powerful demon. By a boon from Śiva, he was able to kill anyone by placing his hand on their chest. This is related in Vāmana Purāṇa. He was an enemy of Nārāyaṇa. tasmān nandātmajo ’yaṁ te nārāyaṇa-samo guṇaiḥ: this child of yours is as good as Nārāyaṇa. SB 10.8.19) Because of this information from Garga the people in Vraja called Kṛṣṇa by these names of Nārāyaṇa and because of being similar in qualities. As you previously killed Mura, you prevent death from attacking us. Grasping his two lotus feet in great pain, they take lotuses, his favorite flower, and offer them to him as a gift. As we cannot do that, we are unfortunate. The rest is according to Śrīdhara Svāmī. Or, the song of Murārī gives the greatest happiness (mukunda) or is enchanting. It is filled with nectar. The waves break their course because of transformations (āvarta) of desire. Or mukundagīta-māvarta: the waves stop their course by their manifestation of desire indicated by turning around in circles or move to and fro because of the wealth (mā) of Kṛṣṇa’s song. The waves move erratically in one place because of deep emotion for Kṛṣṇa, and cannot proceed elsewhere. The word tat is used, not mentioning the flute sound directly, for fear of becoming bewildered. By the embrace of the waves, Kṛṣṇa becomes stunned. Or though he moves about in a variegated way, he becomes situated beautifully in one place to respond to the embrace. They make offerings of Lakṣmī (kamala), though she is to be worshipped as well. They have such fortune, but we are miserable. There is another meaning. Hearing the enchanting song of the flute, the rivers give up their natural, swift course to the sea and taking on forms with ornaments. Ornamented with the necklaces (upahāra) of the girls of Vraja (kamala), they stop the lotus feet of Murāri from moving and embrace them by their many long arms resembling waves. They are fortune and we are not, because the result of hearing the flute cannot be fulfilled by us. We cannot give up our household chores and service to our husbands. We cannot publicly wearing ornaments to please Kṛṣṇa. We cannot bring his feet to stop moving with our arms and embrace him on our chests.

"Those who are in sakhya bhava of friendship have made a success of their lives. The cloud increased its size out of prema to cover Balarama and Krsna and the cowherd boys from the intense heat of the sun. The cloud made a light umbrella (atapatra) over his friend Krsna with his body and a collection of water drops (kusuma vali). The cloud regarded himself as Krsna’s friend because they were so similar: they both take away suffering by a shower of rasa; they are both dark colored; they both the color of lightening (krnsa’s dhoti); and both give off sweet sounds. In this way the cloud gives happiness to Krsna, but we cannot. How unfortunate we are."

In two verses the gopīs conceal their emotions as previously. Not being able to conceal their emotions, they imagine emotions in unconscious entities in two previous verses. In this verse they hide their feelings by describing sakhya-rasa. The cloud sees by means of lightning as eyes (this phrase should be added). In the very intense heat (ātape), Kṛṣṇa with the boys herds the many cows, for which plenty of grass is necessary. Since there are many boys, lots of shade is necessary. He plays the flute loudly (udīryantam) in order to attract the clouds behind him (anu). Filled with prema, a cloud rises and increases in size, by means of water drops (kusumāvalībhiḥ). The cloud is a friend to Kṛṣṇa because he is the same color. The cloud makes an umbrella out of his body. That umbrella is made of water droplets. Out of friendship, the cloud offers his own body or treasure. The cloud is most fortunate and we are unfortunate since we cannot even see him sufficiently. The truth is this. When they herd the cows in the heat, his friends become tired and the cows begin to wander restlessly. At that time, he plays on his flute the mallara-rāga (named after the clouds) to attract the clouds. With the appearance of this pastime, some gopīs now make a poetic image.

Other river which purify the universe at other times, friends of Yamunā and Mānasa-gaṅgā situated in Vṛndāvana, which attained the variegated pastimes of Kṛṣṇa, are also fortunate. How can we describe the fortune of the cloud situated in the unconscious sky, arising from vapors? Kṛṣṇa loudly played his flute again and again (anu) and herded the unlimited cows and buffalos in joy, bringing them together over many areas (sam—cārayantam), by his desire with the cowherd boys in the autumn season which was sometimes hot (ātape). This indicates that Kṛṣṇa became tired. Anu venum can also mean “after playing the flute.” Or he aroused the cloud by the flute (udīrayantam anu venum). Filled with prema, a cloud rises and increases in size, by means of water drops (kusumāvalībhiḥ). The cloud is a friend to Kṛṣṇa because he has the same color. The cloud makes an umbrella out of his body. That umbrella is made of water droplets. Out of friendship, the cloud offers his own body or treasure. Or in the extreme heat (pravṛddhe ātape) the cloud makes an umbrella from his body for our dear friend (sakhyuḥ) and expresses prema by drops of water (tears). Thus the cloud does not shed tears of sorrow by rain, but in bliss. The cloud is most fortunate and we are unfortunate since we cannot even see him sufficiently.

Leaving aside the attraction of the flute, this verse speaks of the lotus feet of Sri Radha, which have the power, by merely slight contact, to induce complete attraction to Ksna, and raise one to the seventh level of prema called madana in mahabhava. "The pulinda women have reached perfection, we have not. We desire to inquire about their austerities." This is the hint in the gopis statement about the perfection of the pulinda women. "Why are they perfect? They smear on their faces and breasts the kumkuma which has dyed the feet of Krsna (urugaya padabja raga). Where did this kumkuma come from? From the breast of his beloved (dayita stana manditena), Radha. Though we are desiring to praise her good fortune, not being able to be so bold, we instead praise the pulinda women. Though that is indeed the kumkuma of Radha, out of great attraction, the pulindas did not even give proper respect. What did they do? Seeing the kumkuma which was smeared on the grass, after Krsna had enjoyed with Radha and was amusing himself in the forest, they developed lust. I do not know what would happen if they saw Krsna. Then, with a desire to receive the fragrance of Krsna’s body, they smeared it on their faces, and then, with a desire for the enjoyment given by Krsna to Radha, they smeared it on their breasts, thinking that they were being enjoyed by Krsna. In this way the pain of their lust was pacified (adhim). That kumkuma has a special power in it. In all our births we have not received it even once." In Ujjvala Nilamani madana is described as follows: " In madana there is a continuous enjoyment. Even just a trace of this is the subject of great adoration and praise." This definition should be applied to the present verse. "Continuous enjoyment" means that because all bhavas exist in madana, all enjoyments of meeting directly with Krsna and all pleasurable pastimes must be there. Thus this verse indicates that there was enjoyment of these gopis through the pastimes with Krsna. Therefore from verse six of this chapter, it should be understood that they were embraced by Krsna who suddenly appeared before them, and thus they began speaking in this chapter. Some also give this meaning to madana: madana which contains all bhavas and is completely blissful, is the ultimate stage, with nothing higher, and attains glory in Radha alone." However, this is not acceptable as it is given by other commentators.

They now describe their own rasa by a verse revealing their emotions. The sequence is as follows. What to speak of his friend the cloud having good fortune, what can we say about the outcaste women? These women have reached success (pūrṇāḥ). We also can have a relationship with him, but not with such good fortune as they! We are more lamentable than these outcaste women. Kṛṣṇa is called Urugāya because he sings expansively (uru) using his flute, which causes the gopīs’ unsteadiness. Our minds desire to touch those lotus feet colored with beautiful, charming (śrī) kuṁkuma. That kuṁkuma was on the breast of his lover. It is impossible for such gallant boy not to have a lover. We conclude that this kuṁkuma attained its beauty by being on the breasts of that dear lover kept secretly. But her good fortune filled with pastimes is far, far away from us. They become agitated on seeing that kuṁkuma. Immediately just by seeing something related to Kṛṣṇa, they become bewildered, by their nature or by remembering his pastimes. What to speak of when they actually see him. That kuṁkuma has colored the grass. Let us take such a birth! Ah! Those women must be filled with bliss. Attracted by the kuṁkuma’s nature of creating greed, they bring it to their faces to smell it and see it. They then smear it on their faces and then on their breasts out of lust. On seeing an object which is related to their lover, they desire association of even that object. By that object the pain causes by their desire becomes relieved to some extent. That gave them some relief, but we have no relief at all. Thus they are perfect, whereas we are unfortunate. Something should be said in this regard. Their words may be taken as an expression of their emotions since their deep emotions were caused simply by seeing him from a great distance. yasyāsti bhaktir bhagavaty akiṣcanā 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 5.18.12 The queens later say: kāmayāmaha etasya śrīmat-pāda-rajaḥ śriyaḥ kuca-kuṅkuma-gandhāḍhyaṁ mūrdhnā voḍhuṁ gadā-bhṛtaḥ vraja-striyo yad vāṣchanti pulindyas tṛṇa-vīrudhaḥ gāvaś cārayato gopāḥ pada-sparśaṁ mahātmanaḥ We simply desire to carry on our heads the glorious dust of Kṛṣṇa’s feet, enriched by the fragrance of kuṁkuma from his consort’s (Rādhā’s) bosom. We desire the same contact with the Supreme Lord’s feet that the young women of Vraja, the cowherd boys and even the aborigine Pulinda women desire—the touch of the dust he leaves on the plants and grass as he tends his cows. SB 10.83.42-43 Thus it is understood that the kuṁkuma from the breast of one gopī was on Kṛṣṇa’s feet. By describing that kuṁkuma as śrī the gopīs indicate that the gopī was special. It is understood that this is Rādhā: vārāṇasyāṁ viśālākṣī vimalā puruṣottame | rukmiṇī dvāravatyāṁ tu rādhā vṛndāvane vane || In Varaṇāśi Viśālākṣī presides. In Puri Vimalā presides. In Dvārakā Rukmiṇī presides and in Vṛndāvana Rādhā presides. Matsya Purāṇa The word śṛi is also used in Brahma-saṁhitā to indicate all the gopīs. śriyaḥ kāntāḥ kāntaḥ parama-puruṣaḥ; I worship this Goloka, where there are unlimited gopīs and their beloved Kṛṣṇa, the supreme form of God. However in Gautamīya-tantra it is said: devī kṛṣṇamayī proktā rādhikā para-devatā | sarva-lakṣmī-mayī sarva-kāntiḥ sammohinī parā || Dear Rādhā, filled with thoughts of Kṛṣṇa, is the supreme goddess. She is the embodiment of all women, possesses all beauty, and is the supreme bewilderer. Śrī cannot refer to Lakṣmī because she is excluded by the following verse. kasyānubhāvo ’sya na deva vidmahe tavāṅghri-reṇu-sparaśādhikāraḥ yad-vāṣchayā śrīr lalanācarat tapo vihāya kāmān su-ciraṁ dhṛta-vratā Lord, we do not know how the serpent Kāliya has attained this great opportunity of being touched by the dust of your lotus feet. For this end, the goddess of fortune performed austerities for centuries, giving up all other desires and taking austere vows. SB 10.16.36 Śrī cannot mean Rukmiṇī, since she was not related to the Vṛndāvana pastimes. The meeting between Rādhā and Kṛṣṇa was possible during the day, since the Pulinda women were wandering about and it was still fresh since they could smear it on their faces and breasts. However their meeting was not intimate since it is said at the rāsa pastimes was their first meeting. bhagavān api tā rātṛīḥ śāradotphulla-mallikāḥ vīkṣya rantuṁ manaś cakre yoga-māyām upāśritaḥ Kṛṣṇa is the Supreme Lord, full in all powers, yet upon seeing those autumn nights scented with blossoming jasmine flowers, He turned His mind toward loving affairs. To fulfill his purposes he employed his internal potency. SB 10.29.1 Otherwise it would not be proper for Kṛṣṇa to test them with words of indifference when he met them at the rāsa dance. The flute is mentioned in this regard, since the flute is related to the story. That is indicated by the name Urugāya which means he who sings using the flute. One time Rādhā fainted because of attraction to his flute. To relieve her of fainting, he reverently touched her kuṁkuma covered breast with a petal which had touched his foot. This being the first time he touched her, he then left quickly since he was still feeling shy. Some gopīs spoke privately (verse 3). Those same gopīs speak this verse. (Thus they refer to Rādhā). In speaking this verse they all indicate that they have pūrva anurāga (attraction before directly meeting). Because there is absence of envy, even if another gopī has association, it only doubles their attraction. yarhy ambujākṣa tava pāda-talaṁ ramāyā datta-kṣaṇaṁ kvacid araṇya-jana-priyasya asprākṣma tat-prabhṛti nānya-samakṣam aṣjaḥ sthātuṁs tvayābhiramitā bata pārayāmaḥ O lotus-eyed one, the goddess of fortune considers it a festive occasion whenever she touches the soles of your lotus feet. You are very dear to the residents of the forest, and therefore we also touched those lotus feet. From that time on we will be unable even to stand in the presence of any other man, for we will have been fully satisfied by you. SB 10.29.36 The young unmarried gopīs had accepted him at the time of the Kātyāyanī-vrata but had not been touched by him. The reference to touching in this verse is through identity with Rādhā being touched by Kṛṣṇa mentioned in the present verse. Abhiramitā means full of bliss.

Another group of gopīs speaks three verses. Or as previously explained, all the verses can be considered as one speech. What to speak of his friend the cloud having good fortune of serving Kṛṣṇa with excellent ingredients, what can we say about the outcaste women who were rejected as untouchable? Pulinda refers to the women of bhilla tribe who wandered in the forest. They are representative of others also in the same category who assist them. Ugugāya means “he who is glorified by the gopīs” or “he who sings using his flute.” The kumkuma, which had decorated the breasts of some women lovers, stained the grass, stones and other items. They do not say specially which gopīs, out of shyness. Śrīdhara Svāmī explains this. By smearing the kumkuma on their faces and breasts they relieve themselves of the pain of desire (tad-ādhim). Or they relieve themselves of love pains at that moment (tat). Or they rid themselves of the indescribable (tat) pain of not attaining Kṛṣṇa. Śrī-kuṁkumena indicates kumkuma which had ornamented Kṛṣṇa’s lovers’ (śṛi) breasts, having great beauty and which attained even greater beauty by contact with Kṛṣṇa’s feet. The Pulinda women took that kuṅkuma and rubbed it on their bodies. Wandering without ornaments in the forest for gathering firewood, they attained the highest ornamentation and removed all suffering. Or Ah! In Vṛndāvana only we are unfortunate. They explain this in the verse. The Pulindas rub their limbs with kuṅkuma of a woman who has anurāga for Kṛṣṇa’s lotus feet. This was special kuṅkuma which could produce Kṛṣṇa’s satisfaction, since it was imbued with the gopī’s prema for Kṛṣṇa. It was first applied on the breasts of dear lovers like you to satisfy Kṛṣṇa. Or it was kuṅkuma of Śrī, red (rāga) like Kṛṣṇa’s lotus feet. Because its color was similar, the gopīs smeared it on their breasts. Later by the amazing sound of his flute, singing loudly, they were pulled to the forest and wandered around here and there. They fell down in the forest on not attaining him. The kuṅkuma then fell from their breasts onto the grass. Or they decorated or Kṛṣṇa decorated their breasts with grass. In this way the grass became tinged with kūmkuma. By seeing the kuṅkuma on the grass and considering their similar nature, or by their very nature, the women developed desire. By the kumkuma taken from the grass or along with the grass they applied it to their faces for its fragrance, and then applied it to their breasts out of desire. But then they gave up the kumkuma, because it was the cause of their pain (ādhim jahuḥ). They gave it up to rid themselves of suffering caused by intense prema. Ah! How misfortunate! Like them we are unfortunate, drowning in an ocean of great pain. “By a relationship with such persons, one will also develop such pain.” Thinking in this way the Pulinda women give up articles associated with our limbs out of fear. When they became absorbed in Mahā lakṣmī through association of the kuṅkuma, they gave up pain, by special mercy of the Lord. Thus the Pulindas are successful (pūrṇāḥ). This is Vallabha’s explanation. Or abja-rāga-śrī-kuṁkumena can mean “by kumkuma having the beauty of a ruby.” Or “by kumkuma having the color of the lotus.” It had decorated the breast of a lover and allows one to attain Urugāya (urugāya-padā). There is another meaning. By seeing the kuṅkuma and remembering the Lord, on not attaining him they developed pain. When intense internal pain arises by the touch of the kuṅkuma happiness arises. By the manifestation of unlimited bliss and sweetness internally unlimited pain is destroyed. Thus the Pulindas became successful (pūrṇāḥ) by relationship with the gopīs and their related articles, related to the Lord. They got relief from pain but our pain increases. We are less fortunate than all living beings, being lower than the Pulindas.

"Oh friends, without the shelter of a great devotee our desires will not be fulfilled. From Gargi we have heard the glories of the devotees of Hari, and that Govardahan is the chief devotee among them. Therefore now let us go and bathe in the Manasa Ganga and have darsana of the form of Narayana called Harideva, the presiding deity of Govardhana. Our elders will not have any suspicions about us either. Also, Krsna is on the slope of Govardhana playing." Using this logic the gopis, desiring to have a meeting with Krsna, they began to glorify Govardhana in order to have their desires fulfilled. "Oh (hanta), how astonishing! There are three main devotees (hari dasa): yudishthira, uddhava and Govardhana.(the word Haridasa occurs in three places in bhagavatam: haridasya rajarse raja suyam mahodaya for Yudhisthira; krsnam samsmarayan reme haridaso vrajaukasam for Uddhava, and the present verse for Govardhana) Of these, Govardhana is the best. Govardahan showed its joy at the touch of Krsna’s feet by becoming soft. Though made of stone, by the touch of Krsna’s feet, it became like mud, so that it held the foot marks of Krsna marked with ankusa, flag and thunderbolt. It has tears in the form of waterfalls and grass sprouting as rising of hair on the body. These are signs of Govardhana’s joy. The phrase rama krsna in this verse (Balarama and Krsna) is used to hide the gopis emotions for Krsna, for they actually meant ramaniya krsna, Krsna, with whom we enjoy conjugal pastimes. Abala (women) can also means weak. "Oh women who are weak, under the control of your husbands, taking shelter of Govardhana is your strength." Yat signifies cause. "Because Govardhana worships Krsna and Balarama along with the cows and other boys, out of joy, in order to please Krsna." He worships offering water (paniya) for footwash and acamaniya, offering drinking water from the cool fragrant waterfalls (paniya), offering naivedya in the form of drinks made from honey, mango and pilu juice, offering arghya in the form of darba (suyavasa) and luscious grass to feed the cows so they give good milk. Another meaning of paniya suvo is waterfall. "Govardhana worshiped the lord by offering seat and bed in the form of caves, to give pleasure in the heat or cold, and radishes for eating." These items also indicate the other items of worship such as jeweled palanquin, lamps, mirror and other articles. By all these things Govardhana worshiped Krsna.

In talking about other subjects in Vraja, they hide their emotions by other rasas in two verses. They point out Govardhana (ayam) with their fingers, since they live near Govardhana. Hari indicates that Kṛṣṇa steals away all the sins, suffering and hearts of everyone in the universe. That he is the presiding deity is famous in scriptures and local lore. Govardhana is the best servant among all is natural servants. His superiority is shown by the fruits he yields. He feels great joy at the touch of their feet, with hairs standing on end, perspiration, and tears by sprouting shoots and flowing with water drops. He gives respect elaborately (vi—tanoti) in the form of all items. Pānīya refers to water and honey. The long vowel in sūyavasa is poetic license for metrical reasons. This refers to soft items or nourishing items that produce milk etc. Pānīyasuva (another version) can also mean waterfalls. Pānīya-bhuva is another version, meaning water and pleasant places for sitting. Kandara refers to caves, equipped with jeweled beds, chairs, lamps and mirrors. With these items Govardhana serves Kṛṣṇa and the others. O young women (with no strength-- abalāḥ)! Because you do not have strength you do not have the good fortune to serve. This is our great misfortune. As in their first verse, the gopīs hide their feelings but another meaning becomes evident. Amarakoṣa says that rāma means blue, beautiful and white. Thus the mountain becomes joyful with the touch of the feet of Kṛṣṇa, who is most beautiful (rāma). Tayoh later in the verse can refer to his two feet. Or, Govardhana gives joy to Kṛṣṇa’s two feet by makes the stones appropriately warm or cool according to the season. Or Govardhana takes pleasure in supplying (sparśa) opportunities for playful (rāma) Kṛṣṇa’s activities (caraṇa). Amara-kośa says sparśana can mean giving. Govardhana is always anxious to encourage Kṛṣṇa’s pastimes. Or, Govardhana gives bliss to Kṛṣṇa, us and the world by supplying opportunities for Kṛṣṇa’s pastimes. Or, the touch of Govardhana is pleasurable like the touch of Kṛṣṇa’s feet. By touching Govardhana, one accomplishes the bliss of touching Kṛṣṇa’s feet, since he holds a treasure of the touch of Kṛṣṇa’s feet as he constantly performs various pastimes filled with prema at that place. Kṛṣṇa should be addressed with tasya in the verse but instead tayoḥ (dual form) is used out of respect to his two lotus feet.

"We should not delay in attempting to meet this flute player, for in herding the cows he can go far away." With this intention they speak this verse. To indicate that they were in the mood of serving, the ka is added to gopa. Thus the word indicates that the cowherd boys were protecting (gopayanti) Krsna with love. Another indication of the word is that they went with Krsna every morning. Mother Yasoda brought them together for this purpose. While Krsna played the flute they wandered from forest to forest, herding the cows. This produced a very wonderful scene. What was so wonderful? When those who move about in bodies hear that flute sound, they become motionless. The trees in having their hairs stand on end adopt the quality of moving beings. Niyoga is a type of noose used to restrain the calve at milking time. By that rope Krsna and Balarama attained special beauty (krta laksanoh). The rope, bound with pearls and flowers in two directions in their yellow silk turbans, signified them as cowherd boys. This was attractive to the viewer.

What can be said about the glory of Govardhana, aptly named his best servant. But most fortune are all the moving and non-moving beings there. Since he must travel far because of the unlimited number of cows, he gives joy to all the living beings over a wide area. He goes from forest to forest because of differences between the various groves. The gopīs feel most unfortunate, being cheated of seeing him. The suffix ka on gopakaiḥ indicates giving them mercy since the boys are objects of his mercy, being part of Kṛṣṇa’s family. The word gopa also indicates that they protect Kṛṣṇa from places where there is fear and sorrow. But we gopīs are not qualified to perform such service. The two boys wander at their leisure from forest to forest (nayatoḥ), but we do not have that fortune. That flute is generous (udāra), giving the highest joy to them all. That flute sound is special, producing soft, sweet tones (kala-padaiḥ). Kala means a soft, unclear, sweet sound according to the dictionary. The sound is attractive because of its sweetness. Because of its softness, it seems to be sending some hidden message. Being filled with many emotions, it becomes most excellent. Or that sound becomes mixed with the footsteps (padaiḥ) which make sounds because of ankle bells. This indicates that they remember his pastimes. The plural is used for respect. All those who have bodies (tanu-bhṛteṣu) fall under his control. O friends, you know this. Motion stops in things that have the ability to move such as rivers which have a constant tendency by their nature. What to speak of us who have come far into the forest. The trees have their hairs standing on end though they have no hairs, by developing sprouts. Producing sprouts and having them stand up occur simultaneously. This also indicates shivering, another symptom of ecstasy. Thus the moving and non-moving things develop opposite qualities. Since the cows have gentle natures, it is unsuitable to tie them up. These ropes are called niryoga. At the time of milking, the rope is used to tie the restless cow’s leg of the cow. The two boys have these ropes which make them look beautiful. Kṛta-lakṣaṇau means endowed with good qualities according to Amara-koṣa. Thus the rope refers to two pieces of cloth decorated with flower clusters and pearls. This is placed on top of a turban on his head. Though his cowherd dress is attractive to all, it is especially attractive to the young gopīs. It is most attractive to all people to have clothing and other items similar to those of one’s own locality, caste and age. This was most enchanting and astonishing (vicitram) to all the gopīs. This adjective can be applied suitably to many elements in the verse. The verse may be taken to indicate their complete absorption in Kṛṣṇa as previously. O friends! Very clearly on the pretext of herding the cows he wanders in the forest with his friends and brother and appears like a cheater. The description as a cheater is completed by the rope, used for binding the feet, suitable to a cheater. These two boys have the ropes. The others assist them, protecting their stolen goods. The two boys herd the cows from forest to forest. By the excellent (udāra) sound of the flute, all moving things become motionless, and motionless things have their hairs stand on end. He is a powerful flute player with attractive, invisible notes like a bewitching mantra. He is thus the chief cheater. The others follow him. Therefore, like us, you should not hear his flute filled with a bewitching spell. Otherwise your minds will be bound up by the two binding ropes. In this way they express their sorrow at being completely bewildered.

What can be said about the glory of Govardhana, aptly named his best servant. But most fortunate are all the moving and non-moving beings there. The suffix ka on gopakaiḥ indicates affection. Gopaka also means one who protects or one who becomes happy as a cowherd. They go to all the forests (anuvanam) in the Mathurā area with loud sound of the flute, or the sound which gives bliss to all (udāra), having sweet phrases (kala-padaiḥ). Or they go with soft, sweet sounding steps of their lotus feet (kala-padaiḥ) because of their ankle bells. Moving creatures become stunned like plants. All the non-moving entities like trees horripulate, and shiver like moving creatures. They show opposite qualities. This is amazing. Or the moving creatures becoming stunned and the trees horripulating is amazing. All living beings have developed special prema. Carrying the ropes is part of the astonishing dress, a cause of being stunned. It is said that even trees can see a little. This is mentioned in Mahābhārata with tasmāt paśyanti pādapāḥ: therefore the trees see. Or not only do they become stunned. Others show transformations of prema such as horripulating. Among the living beings (tanu-bhṛtsu) the two boys have symptoms (lakṣaṇayoḥ)—such as tears and fainting-- produced by the bonds (paśa) of prema from which there arises constant meeting, or from which impersonal yoga has been excluded (niryoga). When the living beings exchange their qualities they show many symptoms of prema. Or the two boys on seeing the animals being stunned stop and proceed on the path because of manifesting prema because of bonds arising from constant meeting with those moving creatures. The two are mentioned because the gopīs are shy to directly indicate Kṛṣṇa. Oh! The moving and nonmoving entities are fortunate. They see him with his sweet cowherd dress and ropes. We rarely see him. How unfortunate we are!

This verse summarizes. "The gopis, describing how the Lord wandered in Vrndavana performing various other pastimes, became absorbed in those pastimes (tanmayatam). They thus approached close to Krsna, and enjoyed with him." Or the meaning can also be: "They met Krsna, engaged others in his pastimes and sometimes were engaged by others in his pastimes." Because they say later in Bhagavatam (10.29.36), "O lotus eyed one, from the time we touched those feet with our hands, we can no longer live with our husbands," it is reasonable to say on this day the gopis enjoyed with Krsna.

They described many of his pastimes, or thus I have described this somewhat. A summary is now given. The gopīs described such (yāḥ) pastimes which bewilder the whole world, the pastimes of the Lord (here the cause of the many pastimes—evaṁ vidham-- is indicated) who reveals his unlimited sweetness, who wanders throughout Vṛndāvana. By this description the eternal nature of his pastimes and their emotions are indicated. Another version has vṛndāvana-vihāriṇaḥ. This indicates his excellence. Recounting all his pastimes, they then became completely absorbed in them.

They described many other pastimes also. I can describe only a few. Now Śukadeva concludes. The gopīs described the pastimes which bewilder the world (evaṁ-vidhāḥ), since they belong to Bhagavān, who displays his powers excellently, by playing at his will in Vṛndāvana. Or they described the pastimes as he wandered in Vṛndavan especially, not in Vraja—for the gopīs would have been fortunate, seeing him in Vraja often. Instead of cāriṇaḥ sometimes vihariṇaḥ is seen. Describing all those pastimes, the gopīs became absorbed in Bhagavān (tan-mayatām), constantly glorifying him and hearing about him. Or they became absorbed in pastimes with him (tan-mayatām). They use the word tat because they cannot pronounce his name. They are overcome with intense sorrow in the fire of prema. Use of the word gopyaḥ indicates that as cowherd women, this absorption in Kṛṣṇa was their very nature. Their greatest fortune of having the highest prema is indicated. Thus end the purports of the humble servants of His Divine Grace A . C. Bhaktivedanta Swami Prabhupāda to the Tenth Canto,Twenty-first Chapter, of the Śrīmad-Bhāgavatam, entitled "The Gopīs Glorify the Song of Kṛṣṇa's Flute." 10.22: Kṛṣṇa Steals the Garments of the Unmarried Gopīs 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 Chapter Summary This chapter describes how the marriageable daughters of the cowherd men worshiped Kātyāyanī to get Lord Śrī Kṛṣṇa as their husband, and how Kṛṣṇa stole the garments of the young girls and gave the girls benedictions. During the month of Mārgaśīrṣa, every day early in the morning the young daughters of the cowherds would take one another's hands and, singing of Kṛṣṇa's transcendental qualities, go to the Yamunā to bathe. Desiring to obtain Kṛṣṇa as their husband, they would then worship the goddess Kātyāyanī with incense, flowers and other items. One day, the young gopīs left their garments on the shore as usual and began playing in the water while chanting of Lord Kṛṣṇa's activities. Suddenly Kṛṣṇa Himself came there, took away all the garments and climbed a nearby kadamba tree. Wanting to tease the gopīs, Kṛṣṇa said, "I understand how fatigued you gopīs are from your austerities, so please come onto the shore and take back your clothes." The gopīs then pretended to become angry and said the cold water of the Yamunā was giving them great pain. If Kṛṣṇa did not give them back their garments, they said, they would inform King Kaṁsa of all that had happened. But if He did give the clothes back, they would willingly carry out His orders in the mood of humble servants. Śrī Kṛṣṇa replied that He had no fear of King Kaṁsa, and that if the girls really intended to follow His command and be His maidservants they should each immediately come onto the shore and take their respective garments. The girls, trembling from the cold, climbed out of the water with their two hands covering their private parts. Kṛṣṇa, who felt great affection for them, again spoke: "Because while executing a vow you bathed in the water naked, you have committed an offense against the demigods, and to counteract it you should offer obeisances with joined palms. Then your vow of austerity will achieve its full result." The gopīs followed this instruction and, folding their hands in respect, offered obeisances to Śrī Kṛṣṇa. Satisfied, He gave them back their clothing. But the young girls had become so attracted to Him that they could not leave. Understanding their minds, Kṛṣṇa said that He knew they had worshiped Kātyāyanī to get Him as their husband. Because they had offered their hearts to Him, their desires would never again become tainted by the mood of materialistic enjoyment, just as fried barleycorns can no longer grow into shoots. Next autumn, He told them, their most cherished desire would be fulfilled. Then the gopīs, fully satisfied, returned to Vraja, and Śrī Kṛṣṇa and His cowherd friends went off to a distant place to graze the cows. Sometime later, when the boys felt disturbed by the great heat of summer, they took shelter at the base of a tree that stood just like an umbrella. The Lord then said that the life of a tree is most excellent, for even while feeling pain a tree continues to protect others from heat, rain, snow and so on. With its leaves, flowers, fruits, shade, roots, bark, wood, fragrance, sap, ashes, pulp and sprouts, a tree fulfills the desires of everyone. This kind of life is ideal. Indeed, said Kṛṣṇa, the perfection of life is to act with one's vital energy, wealth, intelligence and words for the benefit of all. After the Lord had glorified the trees in this way, the entire company went to the Yamunā, where the cowherd boys let the cows drink the sweet water and also drank some themselves.