Śrīmad-Bhāgavatam 10.32.1
Blended reading (Sanskrit + English inline)
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gopyaḥ
—
the gopīs
The plural form names Kṛṣṇa's eternal beloveds in Vraja, the cream of His mādhurya-rasa associates. Gauḍīya theology, following Rūpa Gosvāmī (Bhakti-rasāmṛta-sindhu, Ujjvala-nīlamaṇi), reads gopī-prema as the topmost reach of bhakti — not adultery to be imitated but the highest expression of selfless love accessible only by hearing in disciplic succession.
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pragāyantyaḥ
—
singing forth
Present participle of pra-√gai — the prefix pra- intensifies: not ordinary singing but pouring forth. This is kīrtana in its native heat, the second limb of bhakti (SB 7.5.23) emerging spontaneously from prema-bhāva, not as practice.
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ruruduḥ
—
they cried
Reduplicated perfect of √rud. Tears are the bodily aṣṭa-sāttvika-bhāva of aśru — one of the eight ecstatic signs Rūpa Gosvāmī catalogues. In Caitanya-caritāmṛta, Mahāprabhu shed such tears constantly as He relished gopī-bhāva at Purī.
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kṛṣṇa - darśana
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for the sight of Kṛṣṇa
Compound: Kṛṣṇa + darśana (seeing). Darśana is not casual viewing but mutual exchange — the devotee sees and is seen. The gopīs' lālasā for darśana is the engine of the whole rāsa-līlā arc.
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lālasāḥ
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hankering
From √las — to long, to crave. Lālasā is the technical Gauḍīya term for intense longing that exceeds vidhi-mārga regulation. Raghunātha dāsa Gosvāmī's Vilāpa-kusumāñjali is built on this mood: longing as worship itself.
In the thirty-second chapter, Sukadeva describes how Krsna returned to the gopis. Krsna appeared before the gopis, the gopis worshipped him, and Krsna responded with words of prema to pay his debt to them. Longing for Krsna, the gopis sang and sang (pra gayantah) in various rhythms and tunes (citradha), and talked and talked (pralapantyah) because of extreme prema. Then they began crying.
Singing loudly, because of intense prema (pra--gāyantaḥ), in this way, with other words as well (iti), and sometimes intensely discussing various topics, they wept. But because of affliction in separation sometimes their words were meaningless. The word citradhā (variously or colorfully) should modify “singing” and “discussing.” They wept with long-drawn out sounds (su-svaram). Śukadeva addresses Parīkṣit, “O King! Because of their longing to see him, this weeping was appropriate.”
Iti means in the manner previously described and also with additional items. That is Śrīdhara Svāmī’s explanation. Or iti modifies citradhā: after speaking in many ways as described. They sang loudly out of intense prema and sometimes spoke in the same way. Or they lamented. Or they spoke some words without meaning because of bewilderment in separation. Citradhā should be applied to all the verbs. They cried with pitiful, drawn out voices (su-svaram). They were eager to see Kṛṣṇa who attracted their hearts. This can be the cause of their crying and singing. Śukadeva addresses Parīkṣit, “O King! Because of their longing to see him, this weeping was appropriate.” Or though longing to see Kṛṣṇa now they all sang the previously mentioned song of Rādhā-devī, with great attachment. Their hearts broke on hearing it, and they loudly talked.
The gopī-gīta is a fire still burning when Kṛṣṇa walks in — not silenced by His arrival but completed by it. Their weeping is not grief now; it is the last sound of a flute that has reached its keeper. Hankering for darśana is the highest form of the seeker's voice in this tradition.
My note
Source: vedabase.io