10.33 · The Rāsa Dance

The thirty third chapter describes the rasa dance, various amusements, playing in the water and the conversion between Sukadeva and Pariksit. The gopis, whose lust was increased by his touch, hearing his attractive words (supesala), gave up their pain of separation. Another meaning is "The gopis gave up their pain on hearing the attractive words of Krsna, whose joy increased by the touch of their bodies." Because the gopis indignation has died through the questions and answers of the previous chapter, the amusements of embracing and kissing etc. could now take place.

The rāsa dance, which reveals clearly that the gopīs are superior to Lakṣmī, is most attractive for the whole universe. Hearing these most attractive words of the Lord, the gopīs gave up their pain produces by separation in the past and the future, since they heard that he actually did not reject them, and since they gave up worry that he would not reject them again, even if he were to be separated from them by fate, and since he had expressed his indebtedness to them. Though it was said in SB 10.32.9 that they gave up the pain of separation, it is repeated here to show that they gave up the pain completely now. Their desires were fulfilled by embracing him and holding his hand. Or, the last phrase can modify bhagavataḥ. When Kṛṣṇa was fully satisfied by the limbs of the gopīs because of their sweet words, the gopīs gave up their pain.

Hearing the most attractive (supeśalāh) words of Bhagavān, who revealed his unlimited nature by these words, they gave up the pain from past and future separation. This is a repetition of a previous statement, because they had not completely given up separation. Now they completely gave up their pain, thinking that there would no longer be any separation, since he had explained his indebtedness. They gave up their pain because they were filled with natural prema-rasa (gopyaḥ). Their desires were fulfilled by embracing him and holding his hands. Or because of his skilful words they felt their desires fulfilled in all their limbs.

When the rasas of singing, dancing, kissing, embracing combine together, it becomes rasa. Amusement composed of rasa is called rasa krda. He mixed with those gopis, jewels among women, who were now favorable, being of the same mind (anuvarta), who had their hands joined together.

When his mind was in harmony with their minds (tatra), he then began the rāsa dance, a huge festival, which he desired to perform previously, on attaining these women which he most desired. He had the excellent of the supreme male by revealing his outstanding powers and sweetness as the lord of Gokula (govindaḥ). They were the best of all women (srtī-ratnaiḥ). Nānārtha-varga says ratna means best of a species. This shows the best ingredients for the rāsa dance. They were furthermore influenced by the most intense prema for him (prītaiḥ) and were solely dependent on him (anuvrataiḥ). There were many hands. Anyonyam refers to all the gopīs, rather than one gopī being with him. There was a gopī on either side of him holding his neck. That is the characteristic of the rāsa dance. naṭer gṛhīta-kaṇthanām anyonyātta-kara-śriyām nartakīnām bhaved rāso maṇḍalī-bhūya nartanam Rāsa dance is defined as women holding the neck of the male dancer on either side and forming a circle. They thought “He should remain in this circle and not leave.” Thus they held their hands tightly (ābaddha).

This verse describes how Krsna mixed with the gopis. This rasa gave nectar like bliss to the cataka birds of the devotees eyes and minds, and thus it is called utsava, or festival. This festival began in a perfectly arranged way (samyak =sam pravrtta), with the gopis standing in a circle with Krsna entering between each pair. One should not think that this verse means that the rasa krda was begun by Krsna, that he initiated the rasa dance. Krsna was not the doer, the rasa lila was the doer. Krsna gave the rasa lila the independence to begin the action. Krsna remained present as one of the ingredients of the festival. In this way, more than Krsna himself, more than all his energies and more than all his lilas, the supreme position of the rasa utsava is proclaimed throughout the universe. And therefore Laksmi and others became eager to participate, though they could not do so. How was Krsna positioned between the gopis? He entered between the gopis embracing their necks on either side. From the statement in the sixth verse, that that he was like a great emerald among all the golden jewels, and the use of the word emerald in the singular form, and from the statement in the third verse, that he existed between the two gopis, it should be understood that he did not just remain after entering between them, that is, having entered between them he performed the rasa lila. Rather, from the central position, like the center of the lotus, he displayed quick movements from the center,moving between the two gopis and displayed his dancing. In the flash of a second, he would come from the center to the circle of three hundred koti gopis and dance between them, embracing them, and then return to the center again. His movement was quicker than a fire brand, because at that time everyone could see Krsna, standing in the center, and also situated between the gopis. In this connection Bilvamangala has said, "Madhava was between each pair of gopis. and also each gopi was between two Madhavas. And Krsna began playing his flute from the central position." As the cause of this extraordinary event, Krsna is described as yogesvara, mahavisnu, master of all methods or means, since he is the ocean of all arts. Yoga can mean "method" according to the Amara Kosa. Or yoga can refer to yogamaya, the great sakti which can to what seems impossible. The master of this yogamaya is Krsna. Knowing that Krsna desire to embrace all the gopis simultaneously, Yogamaya manifested a Krsna for each gopi to solve this problem. There are two ways of understanding the phrase "Krsna entered between each pair of gopis." The first understanding is that Krsna expanded as two forms on the two sides of each gopi. The second understanding is that one Krsna entered between each pair of gopis. In the first explanation, each gopi would have Krsna on each shoulder, which would be contradictory for her. But this should not be a worry, because the great Yogamaya sakti made each gopi aware that only one Krsna was touching her. There is no contraction however in the second explanation. Each of these women thought that Krsna was with standing with her. Though this was certainly so, he could also be seen everywhere. That was one of his dancing arts. In the middle of the circle, the son of Devaki stood embraced by the queen of Vrndavana, Sri Radha. This is the intention of the Krsna sata nama stotra, saying, calling her the cause of the rasa krida (rasa krida karanam). At that time, hundreds of devatas such as Brahma appeared in airplanes. They were eager to see the dancing part of the rasa lila, not the confidential part, for being dasya bhaktas, they did not have qualification for the other parts. That means that by the arrangement of Yogamaya the males of svarga and other abodes could see Krsna alone, and not the gopis.

Rāsa means a combination of the highest rasa. This is a joyous festival of special playing (utsava). This festival of rāsa was excellently started (sampravṛttaḥ) by Kṛṣṇa, the form of condensed bliss. The excellence is shown. It was decorated with the gopīs in a circle, which made them appear more beautiful. The details of the commencement are described by Parāśara: rāsa-maṇḍala-bandho ‘pi kṛṣṇa-pārśvam-anujjhatā / gopījanena naivābhūd ekasthāna-sthirātmanā // hastena gṛhya caikaikāṁ gopīnāṁ rāsa-maṇḍale / cakāra tat-kara-sparśa-nimīlitadṛśaṁ hariḥ // tataḥ pravavṛte rāsaś calad valaya-nisvanaḥ / anuyāta-śaratkāvya-geya-gītir anukramāt // The circle of the rāsa did not keep him situated in one place, since the gopīs could not give up being by Kṛṣṇa’s side. In the circle he took the hand of each one of the gopīs, who closed their eyes when he touched them. The rāsa dance began filled with the jingling of moving bangles, filled with songs praising the present autumn season. Madhye dvayor dvayoḥ means he was situated between gopīs two by two, rather the just situated with two gopīs. This means there was gopī on either side. Verse 6 mentions that he was a sapphire among many jewels. That is a general description. Here it means that he was between two gopīs with his arm on each of their necks. Bilvamaṅgala Ṭhākura has written the following verse about the rāsa dance: aṅganām aṅganām antarā mādhavo mādhavaṁ mādhavaṁ cāntareṇāṅganāḥ ittham ākalpite maṇḍale madhya-gaḥ saṣjagau veṇunā devakī-nandanaḥ Mādhava was situated between each pair of gopīs, and a gopī was situated between his pair of manifestations. And Kṛṣṇa, the son of Devakī also appeared in the middle of the circle, playing upon is flute and singing. Krama-dīpikā says sudṛṣām ubhayoḥ pṛthag antara-gam: he was situated between two gopīs. Thus worship of a gopī and Kṛṣṇa is prescribed rather than worship of Kṛṣṇa and two gopīs. This was the conduct of one qualified male among many women (strīṣu) who desired his association simultaneously out of great anurāga. There would be fault if there was inequality. This would interrupt the happiness. Each thought he was with her alone. The following should be considered. Kṛṣṇa began the rāsa dance to give happiness to all of them. All the gopīs should see the rāsa as most magnificent. Therefore this perception was proper. By some dancing skills he appeared as many. He also used māyā, otherwise the phrase “each saw him with her alone” would have been used. Thus each thought he was alone with her. Though Kṛṣṇa was on either side of her, the gopī could not discern this because of she was overcome with unlimited bliss. Thus the main reason they thought in this way previously and now was their bewilderment caused by bliss. That he appeared as one person on entering the rāsa is solved in the following manner. He was yogeśvara, the master of special inconceivable, astonishing śakti. This arose by his will alone, without ordering, since it is his innate śakti. Those who by their nature roam in the sky gathered together on suddenly seeing the rāsa dance. The sky became filled with airplanes. Or they gave up the direction where the moon and rose above the moon into the open sky. “The inhabitants of the sky” refers to Brahmā, Śiva and others. This means there were no such festivals in Svarga or other planets. They became eager for the dancing part of the rāsa, not the confidential pastimes, since they were not qualified, being in dāsya-rāsa. They came for the dancing. The confidential pastimes were hidden from them by yogamāyā.

From the devatās and others (tataḥ) arose the sound of drums or after that (tataḥ), the drums sounds on their own since they were celestial instruments and because of the nature of the great, auspicious festival. That should be understood when drums are mentioned later also. First the drums sounded for auspiciousness and for gathering the different groups of gopīs. Showers of flowers fell everywhere (ni—petuḥ). Thus flowers were spread all over the dancing arena. The Gandharvas sang with their wives and the Apsarās. They were all dedicated to Kṛṣṇa, whose fame was spotless. Because of this, at this time they all were also spotless--free of all bad desires.

The bangles, ankle bells and waist bells of the those women with Krsna (sa priyanam) made a great sound. Ca indicates that musical instruments such as various types of drums also were played. However, indicating them only by ca means that they were not the principal instruments, and did not cover the sound of the gopis’ornaments.

Having described the festival produced by the devatās, the instruments and singing suitable for the rāsa dance are described. First the sounds from the gopīs’ ornaments are described. The bells were on the belts and other accessories of the gopīs. The word yośitām suggests that it was natural for these ornaments and sounds since they were women. The sound arose from the women each of whom had Kṛṣṇa with them (sapriyānām). That sound arose in the circle they formed for the rāsa dance.

Though born as a ksatriya (devaki putra), though full with six opulences (bhagavan), he appeared most beautiful situated among the women of cowherd descent. Though Krsna is the color of a blue sapphire, in mixing with the golden color of the gopis, he turned emerald color (marakata mani). The word maha is used to indicate that the beauty was extraordinary. Some say that the world marakata also means sapphire. Thus the word maha mArakata, meaning being like an emerald though actually being sapphire, is also seen in some versions of the text.

Kṛṣṇa who is known to you, Parīkṣit as the son of Devakī, even though he is endowed with all powers and all beauty (bhagavān), appeared most beautiful with these gopīs. Or, he appears very beautiful as the son of Yaśodā (devakī-sutaḥ ) but now appeared even more beautiful in this place and appeared most beautiful with the gopīs. This is shown by an example. The singular madhya is used to indicate a general case, though actually he had many forms and was thus in the middle of many pairs of gopīs. He was also in one form in the center of the circle. He was with Rādhā wandering about while playing his flute, making the rāsa circle even more beautiful. This is known from the description of the rāsa in Krama-dīpikā. itaretara-baddha-kara-pramadā- gaṇa-kalpita-rāsa-vihāra-vidhau | maṇi-śaṅku-gam apy amunāvapuṣā bahudhā vihita-svaka-divya-tanum || sudṛśām ubhayoḥ pṛthag-antaragaṁ dayitā-gaṇa-baddha-bhuja-dvitayam | maṇi-nirmita-madhyaga-śaṅku-lasad- vipulāruṇa-paṅkaja-madhya-gatam || taruṇī-kuca-yuk-parirambha-milad- ghusṛṇāruṇa-vakṣasam ukṣa-gatim | Holding hands with alternate gopīs in the rāsa dance, with gopīs on either side, he expanded his shining body, like jewel pillar, into many forms. He was like a blossoming pink lotus within a jewel pillar in their midst. Walking like a bull, he appeared pink from the kumkuma from the gopī’s breasts which stuck to his chest. Bilvamaṅgala also said madhya-gaḥ saṣjagau veṇunā: he was in the middle playing his flute. He was like a jewel in the center of golden jewels. In Goloka, gold transforms so that it looks like gems. As a general statement, marakata is in the singular, though there were many Kṛṣṇas there. Since he is described as a group of clouds (megha-cakra) among lightning in the next verse, in this verse, just as a huge dark jewel (mahā-marakata) becomes more beautiful among gold gems, so he became more beautiful by embrace of the gopīs. According to Śrīdhara Svāmī, mahā-marakataḥ means a sapphire (whereas marakata means an emerald, which is green). Or, in close contact with the golden hue of the gopīs, his bluish complexion became greenish like a great emerald. This was caused by the dancing, and was not his intrinsic feature.

Just as Krsna attained additional beauty in association with the gopis, so the gopis also attained additional beauty in association with Krsna. Tha foot movements of the gopis coordinated with the songs’ rhythm and rasa. In this way the gopis manifested more and more colorful dances and songs. Though the gopis were all holding each other or Krsna, their hands made exquisite movements. Sometimes they also freed their hands, and then quickly showed various mudras to express the subject of the song. In order to indicate the rasa and confirm the skill of their song or dance, they moved their eyebrows and smiled. Because their waists were thin by nature, they appeared bent during the movements of dancing. They picked up the cloths that they had laid on the ground for Krsna to sit on after he got up, and waved those cloths in the air while they sang. These women are called krsna vadhva. Vadhu can mean, women, wife and daughter in law. If we take the meaning as wife, then this will contradict what Bhisma stated. "Let me surrender to Krsna whose mood was attained by the wives of the gopas during the rasa lila." (sb 1.9.40) Bhisma did not say wives of Krsna. Thus Sanantana Goswami also does not interpret vadhu as wife in this verse. He describes vadhu as a golden complexioned woman who has taken complete shelter of Krsna, who is embraced by him as in the rasa lila, who is to be enjoyed only by him. Thus those gopis are described as vadhu, because they were similar to wives. This is explained in Vaisnava Tosini.

Not only did he become more beautiful with the gopīs, they became more beautiful in association with him. They stepped on the ground using dance steps (pāda-nyāsaiḥ). They made various gestures with their hands. Though they could not gesture because their arms were locked together in the circle, sometimes they released their hands to make the gestures. Skilful dancing employs smiling and moving the brows. Their waists were thin by nature, but by the transformation of dancing, they seemed to break in the middle. Or their waists became bent. This took place in all of them, constantly. When Kṛṣṇa stood up, they again took all the clothes they had laid on the ground for him to sit upon (cala-kuca-paṭaiḥ). They tied their braids and belts fearing they would come loose. Or their braids and belts became loose while dancing. The words kṛṣṇa-vadhvaḥ should be explained as follows. Singing about Kṛṣṇa, the gopīs, as Kṛṣṇa’s wives, appeared like lightning in a mass of clouds. Someone could propose as follows. “In the previous verse, Kṛṣṇa was like a sapphire among golden gems. Since the relationship between a sapphire and other gems in temporary, the example suggests that Kṛṣṇa and the gopīs are not married. They do not have an innate relationship.” The secret is then revealed in this verse from absorption in bliss. They were Kṛṣṇa’s wives (kṛṣṇa-vadhvaḥ). Because of their innate relationship (like lightning with rain clouds) they were married. Thus there was excellence in all their qualities without them having to cultivate anything.

Not only did he become more beautiful with the gopīs, they became more beautiful in association with him. They stepped on the ground using dance steps (pāda-nyāsaiḥ). They made various gestures with their hands. Though they could not gesture because their arms were locked together in the circle, they would gesture with two hands joined together, or sometimes they released their hands to make the gestures. Or interrupting certain dance steps they could gesture though their arms had been bound together. Skilful dancing employs smiling and moving the brows. Their waists were thin by nature, but by the transformation of dancing, they seemed to break in the middle. Or When Kṛṣṇa stood up, they again took all the clothes they had laid on the ground for him to sit upon (cala-kuca-paṭaiḥ). The golden women who had taken complete shelter (vadhvaḥ) of Kṛṣṇa, dark blue, sang. The example of the cloud with lightning hints at this. Or they were the dearmost (vadhvaḥ) of Kṛṣṇa. Their similarity to Kṛṣṇa in skill and bewilderment in prema was suitable. They sang about him. Parāśara describes this: Kṛṣṇaḥ śarac-candramasaṁ kaumudīṁ kumudākaram Jagau gopījanas tv ekaṁ kṛṣṇa-nāma punaḥ punaḥ Kṛṣṇa is the autumn moon, the moonlight, and a lotus. The gopīs sang one name of Kṛṣṇa repeatedly. Viṣṇu Purāṇa They shone brilliantly (virejuḥ). The skill in dancing with intoxication and prema of Kṛṣṇa and the gopīs mixed together, and his powers and his human nature becoming one, produced the brilliance. The image of lightning suggests that by their mutual beauty, his beauty increased. The megha-cakra (circle of clouds) suggests that by his skill in dancing or by his special power he became many. Or it means a group of clouds. Without being black, the beauty would not be produced. After he reached the peak of beauty they became most beautiful. The rāsa dance became most astonishing because of the wealth of excellent beauty of the women who had reached the height of beauty.

The gopis danced and danced (nrtyamana), or were honored by Krsna for dancing, and sang and sang, with their throats tinged with various ragas (rakta kantha). Ragas are explained in the Sanita Sara. "There are as many ragas as there are species of life. Among those ragas the sixteen thousands produced by the gopis are best." They were attached to the affection showed by Krsna (rati priya). Being blissful because of the touch of Krsna, they did not feel any fatigue after dancing and dancing. The universe (idam) became filled (avrta) with this singing. Another meaning is "They were songs which even today all people of the universe sing."

Having described the prominent position of the gopīs’ dancing because of great joy, now the prominence of singing is described. While dancing they sang. This shows their skill in dancing since they could also sing at the same time. The goal of singing and dancing was Kṛṣṇa’s pleasure (rati-priyāḥ). One should not fear that they would become tired by singing and dancing for they were overjoyed by the touch of Kṛṣṇa. That was the only cause of their dancing. Their singing was so loud that it spread over the universe. Or, the universe became filled with their spontaneous rāgas, which made the universe prone to singing as well. The scriptures on music say that the gopīs’ rāgas numbers sixteen thousand. Saṅgīta-sāra says tāvanta eva rāgāḥ syur yāvatyo jīva-jātayaḥ teṣu ṣoḍaśa-sāhasrī purā gopī-kṛtā varā There are as many musical rāgas as there are species of life. Among these rāgas sixteen thousand principal ones were performed by the gopīs previously. Or, the gopīs were respected by Kṛṣṇa because of their dancing (nṛtyamānāḥ). Their throats were smeared with prema (rakta-kaṇṭhyaḥ). This indicates the great sweetness of their singing. The cause of the loud singing was their affection for Kṛṣṇa whose other name is Rati (rati-priyāḥ). They sang loudly because of Kṛṣṇa’s loud singing. Parāśara says: rāsa-geyaṁ jagau kṛṣṇo yāvat vyāyata-dhvaniḥ sādhu kṛṣṇeti kṛṣṇeti tāvat tad dviguṇaṁ jaguḥ When Kṛṣṇa sang at the rāsa dance the gopīs sang twice as loud, saying “Kṛṣṇa sings well. Kṛṣṇa sings well.” The reasons for their singing loudly are three: their voices were filled with prema, they were affection to him, and they were joyful with Kṛṣṇa’s touch. The related causes should be understood. Just as Kṛṣṇa became more beautiful because of the gopīs and the gopīs became more beautiful because of Kṛṣṇa, so the qualities of their singing and dancing became more attractive by Kṛṣṇa’s singing and dancing. This will be clear in later verses.

The svaras are born from the srutis. These seven svaras correspond to the cries of the peacock, cataka, goat, crane, cuckoo, stork and elephant. The jatis arising from the arrangement of svaras are eighteen. Jatis are the source of ragas. These jatis are to two types: pure and distorted. The sadja, arsabha, gandhara, madhyama, pancama, daivata and nisada jatis are called pure. When these are changed they are called distorted (vikrta). Though they all sang, Krsna did not sing at the same time as the gopis (amisrita). Another meaning of amisrita is that the gopis sang with pure jatis, not mixed with others. Being the most excellent singers, the gopis sang only in pure form. In an outstanding manner one gopis performed alapa (improvisation). Seeing the gopi sing so skillfully, Krsna honored her by giving his yellow cloth and other things. It should be understood that this gopi was Visakha. The alapa of one song was performed with dhuva tala with great expertise. Krsna honored her with ornaments like rings, other ornaments and garlands. Revealing even more wonderful qualities, this person could only be Lalita. Seeing that the gopis were reluctant to bring the ragas and raginis they sung to even greater levels of beauty, Radha herself then sang. From this we can understand that among all the gopis she was endowed with most excellent and attractive of all qualities.

The activities of the gopīs in prema are now described individually by taking the chief among the gopīs, as was done previously, in five and a half verses. One gopī followed after Kṛṣṇa (mukunda-samam), singing in an excellent way (un—ninye). It is said that saha (or samam) means “accompanying, in a secondary role.” Though she sang with Kṛṣṇa, her outstanding delivery of notes made them appear separately (amiśritāḥ). Thus she was worshipped by Kṛṣṇa. He said, “Very good! Very good!” He repeated his words out of joy or to emphasize her excellence. A gopīs sang a song. This is a song either without tāla (rhythm), expressing the nature of the rāga, or with ādi-tāla (8 + 4+ 4) which serves as an introduction. It became a song in the dhruva style: with either yati or niḥsāra tāla along with a song in two parts called bhoga. Kṛṣṇa honored her but even more. Or,svāra refers to the seven svāras resembling the sounds of animals such as the crying of the peacock. raṣjakāḥ śrotṛ-cittānām svarāḥ sapta-vidhā matāḥ ṣaḍjarṣabhau ca gāndhāro madhyamaḥ paṣcamas tathā daivatāś ca niṣāḍaś ca sarve syuḥ śruti-sambhavāḥ mayūra-cātaka-cchāga-krauṣca-kokila-dardurāḥ mātaṅgaś ca krameṇāhuḥ svarānetān sudurgamān Notes attractive to the listerners are of seven types difficult to comprehend: ṣaḍja, ṛṣabha, gāndhara, madhyama, paṣcama, daivata, and niṣāda. They all arise from the śrutis. They resemble respectively the cries of the peacock, cātaka, goat, curlew, cuckoo, frog, and elephant. Jātis are the sources of rāgas. It is said: rāgas tu jāyate yasyāḥ sā jātir abhidhīyate śuddhā ca vikṛtā ceti sā divdhā parikīrtitā śuddhā sapta-vidhā jṣeyā taj jṣaiḥ ṣāḍjyādi-bhedataḥ ṣaḍja-kaiśikyādi-bhedād ekādaśi vidhāparā That which gives rise to rāga is called jāti. There are two types: pure and altered. The pure jātis are of seven types, defined according to the seven svāras (seven notes of scale). The altered forms are of eleven types based on the chromatic (semitone) scale. Ṣāḍjyādi means the seven major notes ṣāḍja, ṛṣabha etc. Ṣaḍja-kaiśikyādi means the eleven semitones. Amiśritāḥ means the notes were only svāras and jātis with no other mixture. This can only be produced by an expert in musical knowledge. She sang expertly (un—ninye, utkṛṣṭām ninye).

The activities of the gopīs in prema are now described individually by taking the chief among the gopīs, as was done previously, in five and a half verses. One gopī followed after Kṛṣṇa (mukunda-samam), singing in an excellent way (un—ninye). Unninye means she composed the song excellently or embellished it. She followed because he was the giver of the highest bliss (mukunda). And by this singing he gave the highest bliss to the universe. She was worshiped by Kṛṣṇa because though she sang with him, she also composed the melody independently. He worshipped her by praising her. He said, “Very good! Very good!” He repeated his words out of joy or to emphasize her excellence. Though she sang with Kṛṣṇa, her outstanding delivery of notes made them appear separately (amiśritāḥ). Amiśritāḥ also means pure. Jātayo ‘śtadaśa proktās tāsāṁ lakṣaṇam ucyate Śuddhāḥ syuḥ jātayaḥ sapta tāḥ ṣaḍjādi-svarābhidhāḥ Tā eva vikrṭāḥ satyo jātā vikṛta-saṁjṇitāḥ There are eighteen jātis. Their qualities are described. The pure jātis are the seven notes of the scale. When these are transformed they are called vikṛta. Saṅgīta-sāgara ṣāḍjarṣabhī ca gāndhārī madhyamā paṣcamī tathā dhavatī cādha naiṣādī śuddhā etās tu jātayaḥ The pure jātis are ṣaḍja, ṛsabha, gāndhāra, madhyama, paṣcamī, dhaivata, and niṣadī. Another gopīs sang. She was worshipped even more that the previous gopī. This indicates her skill in singing.

After indicating Lalita and Visakha through their excellent qualities of singing and dancing, the most prominent Sri Radha is indicated through a description of her good fortune. Gada bhrt refers to Krsna, as the person who held or encouraged discussions (gada) about the various merits of the two gopis singing. That gopi placed her right arm on Krsna’s shoulder. Her bracelets, ornaments and flowers in her hair all became loose. According to the characteristics mentioned in the scriptures, this gopi was the independent lover, the daughter of Vrsabhanu.

Having shown prema manifest through song, displaying degrees of prominence of qualities in some gopīs, Śukadeva now shows excellence of some gopīs with predominance of desire for enjoyment. One of them has prominence of good fortune. That is described in this verse. Kṛṣṇa was standing by her side. This shows that she received comfort immediately from him. If he did not, she would fall over because of absorption in the rāsa dance. He held a staff in his hand, suitable for the master of the dance (gadā-bhṛtaḥ). Or, he suitably held the flute, which makes sounds (nigadati). Though he was between pairs of gopīs, he also had a form which appeared as the master of the dance. The characteristics of her fatigue are described. Her bracelets rubbed together and became loose, like jasmines garlands falling off, and the jasmines in her braids became loose. Parāśara says: parivarta-śrameṇaikā calad-valaya-lāpinīm dadau bāhu-latāṁ skandhe gopī madhu-nighātinaḥ One gopī, becoming tired, placed her arm jingling with bracelets on the shoulder of Kṛṣṇa. In Paraśāra’s description it should be understood that her jasmine garlands also became loose. Among the ten anubhāvas such as śobha, this is called mādhurya. Mādhuryaṁ nāma ceṣṭānāṁsarvāvasthāsu cārutā: mādhuryam means beauty of actions in all circumstances. Ujjvala-nīlamaṇi 11.19 This verse also shows that she was an independent (svādhīna-bhartṛkā) situated in the middle. Thus she is Rādhā. The two gopīs described in the previous verse who gave pleasure to Rādhā and Kṛṣṇa by their singing were Lalitā and Viśākhā. The description in the present verse is similar to that in SB 10.32.6. The description of the qualities of the two singers shows that they were assistants.

One gopi then kissed the arm placed on her shoulder (amsagata bahu) which was anointed with sandalwood. In spite of that sandalwood, she could smell the aroma of lotuses, the natural fragrance of Krsna’s body. It was more prominent than the sandalwood. Since this description is similar to verse 32.4, the gopi indicated is Syamala, a sakhi of Radha.

This verse indicates Śyāmalā’s actions by similarity to the gopīs actions in SB 10.32.4: another placed his arm, anointed with sandalwood paste, on her shoulder. Kṛṣṇa’s arm had by its nature a fragrance superior to that of a lotus. Additionally it was decorated with sandalwood patterns. Ha means “clearly.” The cause of her kissing Kṛṣṇa was her prema which made her hairs stand on end. Or, taking the literal meaning, her hairs were joyous (hṛṣṭa), what to speak of herself. This is the anubhāva called prāgalbhya. Niḥśaṅkatvaṁ prayogeṣu budhair uktā pragalbhatā: pragalbhatā refers to fearlessness in amorous actions. (Ujjvala-nīlamaṇi 11.21)

One gopi, whose cheeks shone because of the reflection of swinging earrings, touched her cheek to Krsna’s cheek out of fatigue. Krsna gave her some tambula chewed by himself, offering it to her as he kissed her. (pra = prakrsta in a a special way adhat he gave). This is Saibhya the gopi referred to in the last chapter, fifth verse.

Because of the similar description of the gopī who was given his chewed betel nut (SB 10.32.5), the gopī described in this verse must be Śaibyā. She placed her cheek on Kṛṣṇa’s on the pretext of being tired from dancing. He put in her mouth from his mouth his chewed betel with great love (pra—adāt). The genitive case (sandadhatyāḥ) is used as poetic license or to express deep in the meaning.

The genitive case (sandadhatyāḥ) is used for the dative (he gave to the gopī who had placed her cheek on his). She did this on the pretext of fatigue. He put in her mouth from his mouth his chewed betel with great love (pra—adāt).

One gopi singing and dancing, holding Krsna’s hand , placed it on her breast. In the last chapter two gopis are mentioned who held Krsna’s hand. Candravali held Krsna’s hand in hers (sb.10.32.4). Padma held Krsna’s feet on her breast (sb.10.32.5). Though there is a difference between holding Krsna’s hands and feet, in both cases the gopi held the hands or feet on her breast to relieve herself of the love pains in her breast. So the purpose of the action is the same. Thus the present verse can also refer to Padma. Though the eighth gopi is not mentioned here, she is mentioned in the Visnu Purana.

Taking his hand as in the previous chapter, this gopī must be Candrāvalī. She danced and sang. Her ankle bells and belt kept beat following her singing. One gopī took the hand of the Lord who was definitely (acyutasya) situated at her side, whose hand gave relief from fatigue like a lotus and was the very form of happiness (śivam). Having described six of the gopīs, the seventh, Padmā, must be included in this same description. (She placed his foot on her breast in SB 10.32.5). The eight gopī Bhadrā, who was very innocent, is described in the Viṣṇu Purāṇa: kācit pravilasad bāhuṁ parirabhya cucuṁba tam gopī gīta-stuti-vyājān nipuṇā madhusūdanam One gopī embraced Kṛṣṇa’s shining arm and kissed him. She was skilful at singing praises. Depicting her elegant actions in an excellent description, Jayadeva describes Rādhā in this way: rāsollāsa-bhareṇa vibhrama-bhṛtām ābhīra-vāma-bhruvām abhyarṇaṁ parirabhya nirbharam uraḥ premāndhayā rādhayā | sādhu tvad-vadanaṁ sudhā-mayam iti vyāhṛtya gīta-stuti- vyājād udbhaṭa-cumbitaḥ smita-manohāri hariḥ pātu vaḥ || Surrounded by many beautiful gopīs in the midst of the jubilant rāsa dance, blinded with love, Rādhā tightly embraced Kṛṣṇa's chest. Saying “Your face is made of nectar,” on the pretext of praising his singing, she passionately kissed him. May Kṛṣṇa with his enchanting smile protect you! Gīta-govinda

One danced and one sang. Her ankle bells and belt kept beat, following her singing. One gopī took the hand of the Lord who was definitely (acyutasya) situated at her side, whose hand gave relief from fatigue like a lotus and was the very form of happiness (śivam). The chief seven gopīs have been described. The eighth is described as follows: kācit pravilasad bāhuṁ parirabhya cucuṁba tam gopī gīta-stuti-vyājān nipuṇā madhusūdanam One gopī embraced Kṛṣṇa’s shining arm and kissed him. She was skilful at singing praises. Viṣṇu Purāṇa Or nṛtyatī gāyatī refers to one gopī. Thus there are six. They are in order of increasing excellence. Having described six of the gopīs, the seventh, Padmā, must be included in this same description. (She placed his foot on her breast in SB 10.32.5). The eight gopī Bhadrā, who was very innocent, is described in the Viṣṇu Purāṇa: kācit pravilasad bāhuṁ parirabhya cucuṁba tam gopī gīta-stuti-vyājān nipuṇā madhusūdanam One gopī embraced Kṛṣṇa’s shining arm and kissed him. She was skilful at singing praises. The six in order are more and more excellent. Two, Rādhā and Lalitā, were on either side of Kṛṣṇa who was in the center. Thus they are not mentioned. The circle is described. Or according to the previous description seven gopīs are mentioned. Rādhā was on his left side in the center so is not mentioned.

In this way, other gopis also , according to their individual inclinations, enjoyed with Krsna. The wives of Kaliya said that Lksmi performed penances to attain Krsna but could not attain him (sb 10.16.36). Uddhava also says that Laksmi could not get the same mercy as they gopis achieved. (sb10.47.60) The Brhad Bhagavatamrta says that Laksmi, seeing Krsna’s beauty, became attracted, performed penances, but could not attain him. From these verses it must be concluded that Laksmi did not attain Krsna. Therefore the phrase sriyah ekanta vallabha cannot mean "Krsna who was the dear lover of Laksmi." Instead the meaning is as follows. The gopis, attaining Krsna, the most desirable (kanta), enjoyed with him, with their arms encircling his neck, just as Laksmi enjoys with Narayana, who holds her to his chest. Or the phrase is acceptable if we understand that Krsna is one with Narayana, so therefore his is dearmost of Laksmi

The gopīs had attained Acyuta, who does not to manifest greatness in his form and qualities. His rareness is described. Lakṣmī holds him dearer (vallabham) than the Lord of Vaikuṇṭha. yad-vāṣchayā śrīr lalanācarat tapo vihāya kāmān su-ciraṁ dhṛta-vratā The goddess of fortune performed austerities for centuries, giving up all other desires and taking austere vows. SB 10.16.36 But she did not attain him. The gopīs attained him as their lover (kāntam). Or, they attained him, their sole beloved (ekānta-vallabham), who was the object of desire of Lakṣmī (śrīyaḥ kantam). Not only did they attain him, but he put his arms around their necks, not able to bear separation from them. In the great bliss of prema, they glorified him, and played. Thus they are shown to be greater than Lakṣmī. This is also shown by Uddhava: nāyaṁ śriyo ’ṅga u nitānta-rateḥ prasādaḥ svar-yoṣitāṁ nalina-gandha-rucāṁ kuto ’nyāḥ rāsotsave ’sya bhuja-daṇḍa-gṛhīta-kaṇṭha- labdhāśiṣāṁ ya udagād vraja-vallabhīnām When Kṛṣṇa was dancing with the gopīs in the rāsa-līlā, the gopīs were embraced by the arms of the Lord. This transcendental favor was never bestowed upon the goddess of fortune or other consorts in the spiritual world. Indeed, never was such a thing even imagined by the most beautiful girls in the heavenly planets, whose bodily luster and aroma resemble the lotus flower. And what to speak of worldly women who are very beautiful according to material estimation? SB 10.47.60

The gopīs had attained Acyuta, their lover, who does not fail to manifest greatness in his form and qualities. His rareness is described. Lakṣmī holds him dear (vallabham). Or they attained Acyuta, the lover of Lakṣmi and the only dear one (vallabham) of themselves. Having attained him, they were considered greater than Lakṣmī. That is shown in the second line. Uddhava says: nāyaṁ śriyo ’ṅga u nitānta-rateḥ prasādaḥ svar-yoṣitāṁ nalina-gandha-rucāṁ kuto ’nyāḥ rāsotsave ’sya bhuja-daṇḍa-gṛhīta-kaṇṭha- labdhāśiṣāṁ ya udagād vraja-vallabhīnām When Kṛṣṇa was dancing with the gopīs in the rāsa-līlā, the gopīs were embraced by the arms of the Lord. This transcendental favor was never bestowed upon the goddess of fortune or other consorts in the spiritual world. Indeed, never was such a thing even imagined by the most beautiful girls in the heavenly planets, whose bodily luster and aroma resemble the lotus flower. And what to speak of worldly women who are very beautiful according to material estimation? SB 10.47.60

After describing the beauty of the various elements of song and dance, the beauty of the gopis enhanced by the dancing is described. They had earrings (karna utpala), their locks of hair swayed with the movements of the dancing. Perspiration appeared on their foreheads. All of this intensified the beauty of their faces as they danced. The sound of their bangles and ankle bells surpassed the music of instruments. Instruments such as drums and flutes also were played. The presiding deities of the instruments all appeared there to make their lives successful. However the instruments sounded without anyone having to play them. The garlands tied in their hair loosened and fell to the ground, as if the hair arrangements, pleased with the skilful dance steps of the gopis, were throwing down flowers in appreciation of their feet.

Their greatness is shown in two verses. Though they became tired from dancing, they became most beautiful. The reason for dancing is described. Since Kṛṣṇa displayed the highest essence of his unlimited sweetness (bhagavatā), they developed the highest bliss with him, since the gopīs were famous for being controlled by love for Kṛṣṇa alone. Being with him, they also displayed similar beauty and other qualities. And like them, he wore ornaments such as lotuses in his ears. The bees were remarkable because they were able to singing suitably for this occasion. Śrīdhara Svāmī says that at this time the musicians from the heavenly planets also played drums suitable for the occasion. He also includes Kinnaras since “inhabitants of the sky” were mentioned in verse 4. The gopīs did not depend on any other persons for singing or music however. They played and sang to express their joy.

Their greatness is shown in two verses. Though they became tired from dancing, they became most beautiful. The reason for dancing is described. Since Kṛṣṇa displayed the highest essence of his unlimited sweetness (bhagavatā), they developed the highest bliss with him, since the gopīs were famous for being controlled by love for Kṛṣṇa alone. Being with him, they also displayed similar beauty and other qualities. And like them, he wore ornaments such as lotuses in his ears. Śrīdhara Svāmī says that at this time the musicians from the heavenly planets also played drums suitable for the occasion. He also includes Kinnaras since “inhabitants of the sky” were mentioned in verse 4. Or this verse shows what was previously mentioned: that they were superior to Lakṣmī. Or previously the male Gandharvas had sung. Now at the beginning of the dance, they did not depend on others for singing and instruments. Or previously the songs of the Gandharvas and the music from their bangles were described. Now, even without that singing or sound of the bangles they danced. Valaya-nūpura-ghoṣa-vādyaiḥ can be taken as a negative: avalaya-nūpura-ghoṣa-vādyaiḥ. This is because, absorbed in the dance, they would deviate from the music. Thus even the bees did not hum at this time (abhramara-gāyaka). The garlands in their hair scattered because their hair worshipped his feet by scattering the flowers.

All of these elements of song and dance also made the elements of Krnsa’s love play perfect. Embracing each gopi he danced with her. Touching the left breasts of the gopis with his right hand he counted the tala of the music on their breasts by tapping his fingers. He secretly glanced at all the gopis’ limbs as they danced. He kissed them on the pretext of satisifying them. After enjoying in these ways with the gopis, he then smiled. Krsna is addressed as ramesa. This means he was master of all opulences. It can also mean Krsna, who is the enjoyer (ramana) of the gopis. As a foolish boy plays with his shadow, so Krsna enchanted by the gopis who had surrendered to prema, began to enjoy with them. How could one person enjoy with thousands of gopis? The form of Krsna expanded into many, who then enjoyed (vbrahmah) with each gopi who was also his own form (bimba). The gopis were the hladini sakti, expansions of his svarupa. Similarly in 3.2.11. svabimba referes to Krsna’s own form, the prabhava prakasa. Therefore the meaning of the verse is: "Krsna expanding himself as prabhava prakasa, enjoyed with each of the gopis who were his own svarupa." The phrase sva pratibimba cannot be explained in any other way. To say that bimba means shadow is inappropriate.

Śrīdhara Svāmī explains this verse. His commentary is strongly based on the example given. Kṛṣṇa was like a child who by mistake plays with his reflection. There is mutual imitation in the Lord’s actions (the boy) and the gopīs actions (the reflection). Kṛṣṇa himself is the initiator of the actions. That process is described in the example. Thus the phrase “the example shows that he is never surpassed in his pastimes” in his commentary seems to be interpolated. Śrīdhara Svāmī then explains the example. Kṛṣṇa transfers his qualities to them. And they become the reflection of his qualities. Just as a boy realizes the beauty of his face by means of the reflection, not by the real face, so the Lord realizes his qualities through his beloved gopīs, since those qualities do not arise in him unless their prema arises. Or, though he is the master of Lakṣmī, he enjoyed with the gopīs of Vraja, not with her. This shows their superior beauty and prema. Or he is the master of Lakṣmī, but does not enjoy with her. He enjoys instead with the gopīs. This shows the extraordinary nature of their enjoyment. Then in astonishment the description of the gopīs is given. He embraced them, held their hands. He joyfully gazed at their faces. He acted without restraint, such as touching their breasts (uddāma-vilāsa). He smiled to show his intense passion. Then an example is given to show their general attachment with unsurpassable qualities in them and him. Some boy, because of the nature of his age, is attached to playing and in illusion plays with his reflection, just as the Lord plays with the gopīs who are equal to him, his reflective counterparts. Attached to play which is filled with his nature of being controlled by prema, he enjoys with the gopīs since they are his counterparts, being his svarūpa-śakti. With a similar intention, previously the gopīs were described as kṛṣṇa-vadhvaḥ (wives of Kṛṣṇa) rather than gopa-vadhvaḥ (wives of cowherds). (They are his eternal consorts.) Brahma-saṁhitā 5.37 says: ānanda cinmaya rasa pratibhāvitābhis tābhir ya eva nija rūpatayā kalābhiḥ | goloka eva nivasaty akhilātma bhūto govindam ādi-puruṣaṁ tam ahaṁ bhajāmi || I worship the Supreme Lord Govinda who, though regarding all the inhabitants as his very self, resides in Goloka exclusively with the young gopīs, who are embodiments of madhura-rasa. He accepts them as his wives, while they respond to his conjugal affection reciprocally. When a boy moves his head, his reflection moves, when Kṛṣṇa moved, the gopīs moved, but in the excitement of the pastimes, because of mutual attraction, the gopīs and Kṛṣṇa followed each other. The verse mentions his affection glances. This means that just as the gopīs glanced at him with affection, he glanced at them. Parāśara describes his sāttvika-bhāvas: gopī-kapola-saṁśleṣam abhipatya harer bhujau pulakodgama-śaṣpāya svedāmbu-ghanatāṁ gatau When Kṛṣṇa’s arms contacted the cheek of a gopī, those arms began profusly perspiring, and their hairs stood on end like grass.

He embraced them and took their hands (karābhimarṣa). Or he touched their breasts with his hands. He glanced at their faces with relish. Their clothing became loose (uddāma-vilāsa). He smiled with great love. He was the lord of Lakṣmī (rāmeśaḥ): since he was her lord, she was not qualified for the rati displayed at this time, but the gopīs were qualified (vraja-sundarābhiḥ). They were superior to Lakṣmī in bhāva and skills. An example is given to show that Kṛṣṇa and the gopīs were equal. As a boy is not dissimilar from his reflection, so Kṛṣna was not dissimilar from the gopīs. Just as the playing boy moves his hand, so his reflected hand moves. And as the reflexion moves, the boy imitiates that action (so he believes, since he is a child.) Just as the Lord enjoyed, so the gopīs enjoyed. This indicates the beauty of the Lord’s rati. That beauty could not be accomplished if there were irregularities. When they underwent transformations of prema, he also underwent similar transformations. gopī-kapola-saṁśleṣam abhipatya harer bhujau pulakodgama-śaṣpāya svedāmbu-ghanatāṁ gatau When Kṛṣṇa’s arms contacted the cheek of a gopī, those arms began profusly perspiring, and their hairs stood on end like grass. Viṣṇu Purāṇa Or just as a boy absorbed in playing with his reflection does not know anything else, and enjoys, so the Lord absorbed in the dance did not know anything else. Or he enjoyed with the gopīs by their embraces as described. He embraced similarly. He enjoyed their embraces. He imitated what they did. This shows that they were greater than him.

Enjoying with Krsna the gopis became full of bliss. Their senses disturbed by the bliss, they could not arrange their disheveled bodices, hair, cloth, garlands or ornaments.

Because the gopīs’ lost control from intense joy, the rāsa dance slackened. Because of the great joy of associating with his limbs, their senses became confused. The symptoms are described: their hair, linen garments, and the cloth covering their bodices became disarrayed.

Because the gopīs’ lost control from intense joy, the rāsa dance slackened. Because of the great joy of associating with his limbs, their senses became confused. The symptoms are described: their hair, linen garments, and their upper cloth or their bodices or both became disarrayed. This was suitable because they were especially endowed with great prema (vraja-striyaḥ). This shows their great bliss. That is also indicated by the prefix pra in pramuda. You can understand this, hero of the Kurus. Or the Kuru dynsty is most fortunate, since you have a bhāva similar to the gopis’ bhāva which made them most successful.

The heavenly women became afflicted with love for Krsna (kamardita). The moon with the constellations became astonished. In one version karmardita is in the masculine form, modifying the moon, who is male. Thus the moon also took up the mood of a female and was filled with hankering for Krsna. Yogamaya had already covered the gopis limbs and the events of the rasa lila from the sight of males.

Seeing that the pastimes of Kṛṣṇa who is completely filled with all types of sweetness exceeded previous ones (vi—krīḍitam), since he is Svayam Bhagavān (kṛṣṇa), seeing the excellence of affectionate service, all the wives of the devatās, afflicted by desire for the Lord, became bewildered. First not considering their qualification for attaining Kṛṣṇa, and then forgetting about their bodies, they attained a special state of bewilderment. Śrīdhara Svāmī mentioned that they played in the long nights at their will. If the nights were not long, the pastimes filled with profuse joy could not be accomplished. Later it will be said that the dance lasted till the brahma-muhūrta (verse 38). Some explain that this means a night of Brahmā lasting a thousand cycles of four yugas. That is possible since unlimited contradictory conditions can be accomplished by the Lord’s śaktis. That the planets stopped moving out of astonishment is only metaphorical since the planets are dependent on the zodiac movements, their movements are very slight in one night, and sometimes move in the opposite direction anyway. Actually the whole sky became stunned by the sweetness of his pastimes, like a river stopping its flow. Śrīdhara Svāmī used the plural (nights), since verse 25 says “the Lord took advantage of all those moonlit autumn nights” and SB 10.29.1 says “upon seeing those autumn nights.” They became most astonished by the increased bhāvas for Kṛṣṇa in the rāsa dance. That astonishment was fitting because of his extreme increase of bhāvas through related dancing and singing, which were his very nature, because of direct participation of Kṛṣṇa in the dance, because of the participation of the fortunate gopīs, which was unavailable to Lakṣmī, and because of the arrangements for this dance. Kāmārditaḥ in the singular is not accepted by Śrīdhara Svāmī. He accepts that the women became afflicted with desire. He takes “the moon was astonished” as a separate statement.

Seeing the pastimes of Kṛṣṇa who is completely filled with the highest bliss, or who attracts all hearts, pastimes which more extraorindary than previous ones (vi—krīḍitam), seeing with affection or directly with service (vīkṣya), pastimes which became identical to he who plays (kṛṣṇa), all the wives of the devatās, afflicted by desire for the Lord, became bewildered, forgetting everything. First not considering their qualification for attaining Kṛṣṇa, they attained a special state of bewilderment. Along with the moon and stars they became astonished, because they had never seen such an event. Śrīdhara Svāmī mentioned that they played in the long nights at their will. If the nights were not long, the pastimes filled with profuse joy could not be accomplished. Later it will be said that the dance lasted till the brahma-muhūrta (verse 38). Some explain that this means a night of Brahmā lasting a thousand cycles of four yugas. That is possible since unlimited contradictory conditions can be accomplished by the Lord’s śaktis. Śrīdhara Svāmī used the plural (nights), since verse 25 says “the Lord took advantage of all those moonlit autumn nights” and SB 10.29.1 says “upon seeing those autumn nights.” Or the devatā men and women were bewildered. Sa-gaṇaḥ means “with his wives (27 constellations) and the other stars.” The moon and the stars also became filled with desire and became bewildered (ca). Because they were all bewildered they were not restricted with shyness by the loving exchanges which will be described. The moon developed desire for the Lord, though not of the same sort as the gopīs (since he was a male). Or like the sages at Daṇḍakārāṇya, he also developed a conjugal mood. He does not have fault in desiring Kṛṣna who appeared in his dynasty. This is suggested by the word śaśa (rabbit). The moon is not a fault for being marked with a sign of a rabbit. Actually it is a good quality. This indicates that the rāsa dance was most attractive, because it increased bhāva for Kṛṣṇa. It was thus superior to all other pastimes since it increased love for the Lord by its elements like singing and dancing and even that was undertaken by the Lord himself. That was understaken with the gopīs, in this particular manner. It could not be accomplished with devatā woman or with wives like Lakṁsī endowed with reverence, or with other women, who were not qualified to kiss the Lord. It could only be accomplished with the gopīs, most highly qualified with special rati, endowed with special pure prema. The highest goal can only be accomplished using the finest setting. Thus Kṛṣṇa, accomplished at this place the rāsa dance for the rasa of pure enjoyment. Thus it was said tatrārabhata govindaḥ strī-ratnaiḥ: there Kṛṣṇa began the rāsa dance with the best of women. (SB 10.33.2)

Then Krsna enjoyed with each gopi privately in a separate grove. He expanded himself into as many forms as there were gopis. Though his self satisfied (atma rama) he enjoyed with the gopis.

Now special pastimes in relaxing after the rāsa dance are described in two verses. He expanded in as many forms as there were gopīs. Since he has no inside and outside (SB 10.9.13), though of human size, he possesses all powers. He can also just by his desire produce many forms: citraṁ bataitad ekena vapuṣā yugapat pṛthak gṛheṣu dvy-aṣṭa-sāhasraṁ striya eka udāvahat It is quite amazing that in a single body Lord Kṛṣṇa simultaneously married sixteen thousand women, each in a separate palace. SB 10.69.2 This is repeated here because he became one again when they became tired and then expanded again to enjoy privately with each one of them. Both unmarried and married gopīs were there (gopa-yoṣitaḥ) since they are described separately in Chapters Twenty one and Twenty-two. Hari-vaṁśa says yuvatīr gopa-kanyāś ca ratrau saṅkalya kāla-vit: Kṛṣṇa, knowing the time, gathered the married and unmarried gopīs in the night. This is described by Rūpa Gosvāmī in Ujjvala-nīlamaṇi. He enjoyed intimate conjugal activities (ḷīlayā). He displayed all his sweetness (bhagavān) since his essential nature was special pastimes expressing the maturity of prema-rasa and since he automatically distributed this prema-rasa by attracting the hearts of everyone in the universe. This will be clear later in the text, and is explained in Laghu-bhāgavatāmṛta. He did this though he was ātmārāma. He enjoyed privately with each gopī in separate groves near the rāsa arena.

Two veres describe the ultimate goal. By his special powers he expanded himself for each gopī. Some were married (gopa-yoṣitaḥ). Some were unmarried daughters of cowherds. Or they were all wives of cowherds--some were married to cowherds and some regarded themselves as married to Kṛṣṇa by dedicating themselves to him in the Kātyāyanī vrata. This is explained by the great devotee in Lalita-mādhava and other plays. The Lord, who manifested the essence of his qualities (bhagavān), enjoyed with conjugal rasa (līlayā) or with various amorous activities. He distributed special prema himself, attracting the hearts of everyone in the universe, since he was composed of the special pastimes of the highest prema-rasa. That is revealed later and explained in Bhāgavatāmṛta. Though he was an ātmārāṁa, he enjoyed. Both these qualities were displayed separately in the nearby bowers. Or in the rāsa dance his ātmārāma nature was concealed. His nature as the Lord and as sweetness is indicated by this statement.

There are two versions of this verse. With tasam rati viharena means "being tired of enjoying acts of love with them." With tasam ati viharena means "being tired by enjoying excessively with them." Being tired, he gave up that play, and wiped their faces with his blissful hand. This statement also suggests that he applied sandalwood, placed cloth on their limbs, fanned them and offered betel nut.

They became fatigued by various playful activities befitting the anurāga of couples. Another version has ati-vihāreṇa, with the same meaning. He excellently wiped (pra—mṛjat) their faces with his hand composed of the highest bliss, which alleviated their fatigue. Wiping the perspiration and dressing their hair, he made them shine since he was most merciful (karuṇaḥ), unable to tolerate others’ suffering. This was not ordinary mercy, since he wiped their faces because of prema. This shows their special nature. Prema or great affection arose in his heart because of their good qualities, since they took alone as the object of possessiveness or belonging to him. This prema became intense at this time, and included mercy. Just by his touch he can relieve them, since his hand is the embodiment of all happiness. In this case, he not only touched them but wiped their faces, and moreover, did this with prema. Thus the hand not only relieved them of fatigue, but produced the highest satisfaction. Śukadeva calls to Parīkṣit in prema (aṅga).

All the independent gopis, decorated by Krsna with jeweled ornaments, emerged from their groves, met in one place and began to sing an auspicious song hinting at the end of the rasa festival. With gold earrings and locks of hair, with cheeks lit by the flashing of their earings, with sweet, smiling glances, overjoyed with the touch of his nails, they honored Krsna, the best of men (rsabha), and then began to sing of his atrractive (punyani) pastimes.

The overjoyed gopīs produced joy in Kṛṣṇa in three ways: by their beauty (their effulgent cheeks), their emotions (smiling glances) and by glorifying him (they sang about his activities). Śrīdhara Svāmī says the word ṛṣabhasya means “of their husband.” The intention is this. Since Śukadeva himself has revealed this in the words “krṣṇa-vadhvaḥ” what have I to hide? Though I have not explained it, why should words like dayita and ramaṇa have another meaning? They worshipped him as described with a manifestation of husband and wife relationship, not publicly, with mutually strong attachments. Or, he thought, “How fortunate I am to have such wives!” since he had obtained such women who were like his very svarūpa. They offered respect to this pride (mānam). The word ṛṣabhasya (excellent) also shows that he performed the best activities. They glorified his activities which create auspiciousness and most pleasing (puṇyāni). This is the meaning given in Amara-koṣa. The cause of their singing is described: by the touch of his finger nails they became filled with all good qualities for singing. Out of anger in love they had become silent. In order to stimulate them to sing he made some of them more joyful than before (pra—modāḥ) by his touch. Though tired from acts of love, they became eager for rasa through singing. The previous verse and this verse illustrate the anubhāva called helā. cittasyāvikṛtiḥ sattvaṁ vikṛteḥ kāraṇe sati | tatrādyā vikriyā bhāvo bījasyādi-vikāravat || Though there are symptoms of the appearance of bhāva, when there are no external symptoms it is called sattva. Its first transformation with external symptoms is called bhāva, just as a sprout is the first transformation of a seed. Ujjvala-nīlamaṇi 11.7 grīvārecaka-saṁyukto bhrū-netrādi-vikāśa-kṛt | bhāvād īṣat-prakāśo yaḥ sa hāva iti kathyate || That stage where there is a slight manifestation because of bhāva, where the neck becomes tilted, and the eyebrows, eyes, and other bodily features blossom with happiness, is called hāva. Ujjvala-nīlamaṇi 11.9 hāva eva bhaved dhelā vyakta-śṛṅgāra-sūcakaḥ || Hāva becomes helā when there are clearly indications of śṛṅgāra-rasa. Ujjvala-nīlamaṇi 11.11

The overjoyed gopīs produced joy in Kṛṣṇa in three ways: by their beauty (their effulgent cheeks), their emotions (smiling glances) and by glorifying him (they sang about his activities). Ṛṣabhasya means the best male, indicating his great skill in love. It reaches perfection with them. They thus respected him in the ways described (mānaṁ dadhatya). Or he thought, “I am fortunate to have wives like you.” They offered respect to this manifestation of pride (mānam). That is shown. They sang about his pure or joy-filled activities, at the present time, or in the past, because of the touch of his fingernails. Though tired from acts of love, they became eager for rasa through singing. Thus they were joyful (pramodāḥ). The beauty of their cheeks could also be created by his wiping their cheeks.

They began to play in the water after the rasa utsava just as after the soma sacrifice the sponsor and his wife take an avabhrta bath. In order to remove fatigue, Krsna, followed by bees who were the best of singers (gandharva palabhih), entered the waters of the Yamuna (vah) along with the gopis, whose bodies were stained with kumkuma from their breasts disarrayed by their lovemaking, whose garlands were crushed by the contact with Krsna’s limbs, just as an elephant enjoys with female elephants, and breaks all enclosures to do so. Bhinna setu can also refer to Krsna, who broke all conventions.

Three verses describe the activities in prema when the Lord was overjoyed. Because of the special qualities of their pastimes in prema, the gopīs and Kṛṣṇa became fatigued. The garland crushed by contact with the gopīs became more fragrant because of the natural fragrance of their limbs. The word sva in sva-kuca (their own breasts) indicates that extraordinary nature of their breasts. Thus the bees pursued. The garland was made of jasmine flowers. It appeared beautiful with the whiteness being stained by the red kuṁkuma. It acted as an uddīpana of desire in their water sports. He entered the water of the Yamunā (vaḥ) along with them. An example is given. They entered with attraction for the water just as an elephant enters the water out of attachment with his many female elephants. He was followed by bees singing like leaders of the Gandharvas (gandharva-pa). Or gandarva-pā can mean the best of singers. He was followed by the bees which were the best of singers. Gandharva can mean a singer according to the Viśva-prakāśa. This produced the best singing suitable for water sports. Or, with whom did he entered the water? The gopīs, wearing garlands crushed by association with Kṛṣṇa, had kuṁkuma from their breasts spread over their bodies by absorption in amours play. With them he entered the water in order to alleviate his fatigue as well as theirs. The cause of their fatigue is mentioned as a separate topic. They had performed bold pastimes (bhinn-setur iva). Instead of sva-kuca sometimes sa kuca is seen. That is accepted by Śrīdhara Svāmī. Saḥ refers to Kṛṣṇa. He does not refer to sva in his commentary.

There are two versions premneksita glancing with prema, and premnoksita, moistened with prema. Being splashed with water by the loudly laughing gopis, who gazed at with love, or who moistened him with love, he, the treasure of pastimes (sva ratih), worshipped by showers of flowers from the devatas, enjoyed with them.

He sprinkled with water by the young women (yuvatibhiḥ), who were expert at this, absorbed in the rasa of playing in the water. He was sprinkled with water, in the water, from all directions (itas tataḥ), even though they looked at him with prema. Premṇokṣitaḥ (showered with prema) is another version. This indicates that internally and externally he was absorbed in that play. The gopīs laughed loudly because of hāsya-rasa, while he enjoyed (reme). They also were internally and externally absorbed in this play. In this way he enjoyed within himself (sva-ratiḥ). How is this described? He was like the king of the elephants in his pastimes, a person whose pastimes are full of power. How is this described? He was praised with showers of flowers from airplanes. This means he had evident, supreme glory to be praised at all times everywhere. This phrase cannot be explained otherwise, because the devatās were not qualified for this pastime. Śukadeva calls out to Parīkṣit in joy (aṅga). Or, sva-ratiḥ can mean “he had attachment for his own gopīs (sva).” Thus even if he was victorious in the games, they were satisfied with his victory. Or, “Please describe the water pastimes in detail.” He had extraordinary (sva) pastimes (ratiḥ). The pastimes are impossible to describe without giving an example.

After enjoying in the water (tatah), and after (ca) drying their bodies, dressing in clothing and ornaments supplied by the vana devatas they entered countless groves on the bank of the Yamuna, for special pastimes. Those groves had wide horizons served by breezes carrying the aroma of flowers growing in the water. Surrounded by bees and by the possessors of prema, the gopis, Krsna, like an elephant exuding fluid from his temples in the mating season (mada cyuta), entered the groves.

After playing in the water (tataḥ), and taking off those dresses, with a desire for intimate pastimes arising from their new forest costumes, Kṛṣṇa wandered in a small grove. The word ca means tu in this verse. It indicates a new topic. He wandered about picking flowers, hiding in the groves and playing in various ways. The bees came along with the flowers when he picked them and were attracted to the naturally sweet fragrance of his limbs cleansed by the water pastimes. For this reason the bees are again mentioned. The bees were attracted to him just as they are attracted to an elephant with sweet juice oozing from his temples in rutting season. Kṛṣṇa is compared to the elephant because of its excellence and its attachment to the she-elephants.

After playing in the water (tataḥ), he strolled in the forest to pick flowers, since the flowers and garlands had withered during the water pastimes. The word ca means tu in this verse. It indicates a new topic. The directions were served gently by the breeze carrying the perfumes of lotuses and land flowers like jasmine and kuṇḍa. This made the breeze cool and fragrant. He wandered about picking flowers, hiding in the groves and playing in various ways. The bees came along with the flowers when he picked them or were attracted to the naturally sweet fragrance of his limbs cleansed by the water pastimes. Or the bees always were attracted because they served as uddīpanas as their natures. Or they were always attracted to the fragrance from his forest garland and face. Thus they are always described. The bees were attracted to him just as they are attracted to an elephant with sweet juice oozing from his temples in rutting season. Kṛṣṇa is compared to the elephant because of its excellence and its attachment to the she-elephants. And the she elephants are similarly attached to the male. All this is suggested in the comparison. There is mutualy affection between the male and female elephants as the elephant with intensified desire independently plays with them. Or he was surrounded with the women (pramadā) who were fickle like bees. This indicates their intoxication in prema. Pramadā means filled with joy.

In summarizing the rasa lila which occurred on the full moon night of the autumn season, it is here indicated that similar pastimes with the same variety and splendor on the other nights of the year.. Thus (evam), by the influence of yogamaya, he enjoyed the whole night, the night of brahma lit by the moon (siseve). He tasted the Vrndavana nights with his pastimes. The implication of the word siseve from the root sev (serve) is that all the nights which were suitable for the rasa lila, were to be enjoyed or served in the most respectful way, what to speak of the pastimes of rasa that occurred during those nights. This is similar to the expression "the devotees enjoyed or honored mahaprasadam." Because the pastimes involving love (kama) were not material, Krsna is called satya kama. Satya means the form of absolute truth and kama means the pastimes of love. Krsna was endowed with pastimes of love which are the absolute truth, the source of all pure love. And though he is the source of a loving enjoyment, he made the gopis the cause of that enjoyment. Thus, Krsna is described as anurata abalaganah, one who followed after the pleasure of the gopis. Though he is the cause of pleasure, he was attracted to the gopis for pleasure. The word abala also suggests that the gopis were unmatched in their power to express love. At that time, Krsna’s mind was completely absorbed in his pastimes of rasa. Therefore he is described as atmani avaruddha saurata,. one whose mind (atma) was absorbed completely in everything related to conjugal activity(saurata) -that is, emotions, gesture, indifference, insults, vyabhicari bhavas like perverseness, eagerness and joy, sattvika bhavas such as being stunned, sweating, change of color, anubhavas like, seeing, touching, talking, and embracing. The same usage of the word saurta, indicating all the various elements of conjugal love, appears in the following verse. "The son of Devaki, though he is atma rama, in imitation of a human being, began to enjoy with Rukmini with saurata samlapa, talks and all the elements of conjugal expression. The word samlapa included there is descriptive of the enjoyment. The word saurata is devoid of descriptive element, except to indicate all the other expressions and emotions involved in conjugal relationships. On all the nights of twelve months (sarva) he enjoyed. What kind of night? sarat kavya rasasraya. Sarat can mean a year as well as autumn, according to Amara Kosa. Thus they were nights endowed with all six seasons, of which all rasa expressed in poetic works take shelter. Poets like Vyasa Parasara, Jayadeva, Lila suka, Govardhanacarya and Rupa Goswami, taking shelter of (been inspired by) those nights, have described the rasa and activities principally of conjugal love(srngara), which cannot be fully understood. Because I am unable to describe these affairs completely, I have given here only a synopsis.

The pastimes performed on the full moon of the autumn season are summarized, but represent other pastimes elsewhere as well. He served with the highest respect (siseva) all the nights with the rays of the śarat moon in this way (since śarat is mentioned in the last line of the verse), with the rāsa dance (evam). With the appearance of other seasons, with moonlight or in darkness, he would enter the houses, or make appointments and sleep in the groves, and sometimes perform the rāsa dance. The particular information of later nights is first given. (Thus śarat means “year” rather than autumn.) He also served all nights which gave shelter to rasa of poetic descriptions about autumn. Or he served all nights which gave shelter to topics of rasa described by poets of all time and places, but not those nights which gave shelter of topics contrary to rasa. Thus mention of “autumn” indicates other seasons as well. Or he served those nights lit by the moon light in spring and other seasons (śaśāṅkāṁśu-virājitā niśāḥ), those nights which give shelter to poetic descriptions filled with rasa, of the autumn, representing other seasons as well. In what condition did he serve them? His mind (ātmani) was firmly fixed (avaruddha) in all emotions and gestures suitable for amorous contact with the gopīs (saurataḥ). This means he could not give them up. Since a particular bhāva is not mentioned, all bhāvas are indicated. evaṁ saurata-saṁlāpair bhagavān jagad-īśvaraḥ sva-rato ramayā reme nara-lokaṁ viḍambayan And so the self-satisfied Supreme Lord of the universe enjoyed with the goddess of fortune, engaging her in lovers’ talks and thus imitating the ways of human society. SB 10.60.58 However in this example there is particularization with the mention of saṁlāpaiḥ (with conversations). The cause of his mental fixation of loving affairs is given. There were many women with anurāga. The cause was anurāga in prema within Kṛṣṇa and the gopīs. It was not the material lust of material people because his desires are pure (satya-kāmaḥ). Parāśara and Vaiśampayana have said: evaṁ sa kṛṣṇo gopīnāṁ cakravālair alaṅkṛtaḥ śāradīṣu sacandāsu niśāsu mumude sukhī Thus Kṛṣṇa, ornamented with circles of gopīs, enjoyed happily in the moon lit nights of the autumn season. In his commentary Śrīdhara Svāmī explains that avaruddha-saurataḥ means “without the influence of material sex desire.” Thus he has given another, not commonly accepted, explanation of this phrase.

The pastimes of the rāsa dance on that night have been described. Gathering together other pastimes not mentioned during that night, it is now indicated in summary that this night represented many nights. Evam means “in this way.” It means that other pastimes took place on that night as well. Because they are so many, it is impossible to describe them. Nights is in the plural. This indicates that he performed the rāsa dance on all nights during his full kaiśora period. This is stated by Parāśara in Viṣṇu Purāṇa. The word saḥ indicates he was of kaiśora age. kaumāraṁ paṣcamābdāntaṁ paugaṇḍaṁ daśamāvadhi kaiśoram ā-paṣcadaśād yauvanaṁ tu tataḥ param The kaumāra stage lasts until the age of five, paugaṇḍa up to age ten and kaiśora to age fifteen. From then on, one is known as yauvana. According to this kaiśora lasts from eleven to fifteen years. It should be understood that kaiśora continues eternally in Gokula. Uddhava says: tato nanda-vrajam itaḥ pitrā kaṁsād vibibhyatā ekādaśa samās tatra gūḍhārciḥ sa-balo ’vasat His father, afraid of Kaṁsa, brought him to Vraja and for eleven years he lived there with Balarāma, like a covered flame. SB 3.2.26 In Kaumara and paugaṇḍa ages which are unsuitable the rāsa dance does not arise. In those periods Kṛṣṇa’s powers are hidden, since he does not manifest his special qualities as Bhagavān. Thus it is aid he was like a covered flame. Kṛṣṇa says to Nanda in Mathurā: nāsmatto yuvayos tāta nityotkaṇṭhitayor api bālya-paugaṇḍa-kaiśorāḥ putrābhyām abhavan kvacit Dear Father, because of us, your two sons, you and mother Devakī always remained in anxiety and could never enjoy our childhood, boyhood or kaiśora. SB 10.45.2 Some people think that his gokula rāsa pastimes continued into the yauvana period according to descriptions like the following when he entered Mathurā: manāṁsi tāsām aravinda-locanaḥ pragalbha-līlā-hasitāvalokaiḥ jahāra matta-dviradendra-vikramo dṛśāṁ dadac chrī-ramaṇātmanotsavam The lotus-eyed Lord, walking with the gait of a lordly elephant in rut, creating joy for their eyes with his body, which is the source of pleasure for the divine goddess of fortune, captivated those ladies’ minds with playful, bold, smiling glances. SB 10.41.27 But this is not so proper. This is contradicted by the following statements. Akrura describes Kṛṣṇa and Balarāma as kiśorau śyāmala-śvetau: two boys of Kaiśora again, one black and the other white. (SB 10.38.29) Kiśorau nāpta-yauvanau: the two boys of kaiśora age have not reached yauvana period. (SB 10.44.8) The word evam indicates that similar pastimes too place on other nights. All the pastimes recurred as if newly performed, without thinking that the dance and the questions and anwers before the dance had happened previously, because of the flow of the highest prema. Śaśāṅka in the verse means the full moon since the mark resembling the rabbit was completely recognizable. The rays shone brightly (vi-rājitā), as if it were day. For the rāsa dance, on all those nights the moon appeared full, as if it were the full moon day. evaṁ sa kṛṣṇo gopīnāṁ cakravālair alaṅkṛtaḥ śāradīṣu sacandāsu niśāsu mumude sukhī Thus Kṛṣṇa, ornamented with circles of gopīs, enjoyed happily in the moon lit nights of the autumn season. Hari-vaṁśa Though autumn season is mentioned in the above verse (śaradīṣu), it represents nights of other seasons as well. Or it means he enjoyed even in the autumn season. Or the verse indicates the dance in another kalpa when it only occurred in the autumn, just as in other kalpas Vasudeva exchanges the sons in Mathurā, not in Nanda’s house. “How was it possible to every day peform the dance in a similar way with similar nights?” Kṛṣṇa’s every desire was fulfilled (satya-kāmaḥ). “It would be very rare that the gopīs came since they were controlled by their husands and had anger.” He was continuously attached (anurata), or strongly attached, or related in all ways to the gopīs who had surrendered completely to him (abalā-gaṇaḥ). Or “how could they daily meet him. They were not independent, because of husbands?” They were completely attached only to him at all times, ignoring everyone else. Or because they were equally attached to each other, somewhere, at some time, somehow, they would meet. This is not impossible for him. “He is the great attractor, the taster of the rāsa dance. And for no reason, at no time, can he be fully satisfied.” That is true. But he is controlled by prema. He has accepted (avarudha) all acts of love or the most intense pastimes (surata) since he has appeared as avatāra for this purpose. He gave enjoyment to the gopis without indifference, and with inner determination (ātmani). He experienced everything personally with great attchement, by accepting them within himself. Or he experienced the highest bliss by ignoring his feature as ātmārāma. Not only did he perform the rāsa dance as described, but he expressed various types of love in various ways with them. He served those nights throughout the year, in which there are seasons, months, and days, or in the autumn which is beautiful with banks, when desire is strong, which are described in poetry. He acted with great affection for that purpose. The reference to poetry means works like Gīta-govinda and Vidagdha-mādhava. Or in this way he served the rāsa dance on those nights. Now, during the day also, he performed similar pastimes. That is indicated by the word sarvā (all). He served pastimes in the autumn or during the year, which are described with great variety and he served all others as well. These other pastimes are famous in Gīta-govinda, and as well include the tax and boat pastimes described by Candidāsa.

Seeing the doubt in the hearts of karmis and jnanis contaminated with various desires at that assembly, Pariksit raised a question. "In order to establish dharma and destroy adharma, svayam bhagavn, whose expansion is Visnu (amsena jagat isvara), has appeared. Or svayam bhavagan has appeared with his amsa, Balarama. How then can he perform acts contrary to dharma (pratipam). If you say that because he is the independent lord he can do what is contrary to dharma, then he should also accept the sinful reaction, just as he sometimes gets cursed and accepts the result."

The ṛāsa-līlā consists of attracting the gopīs with the flute, conversations, disappearance with Rādhā, his reappearance, spreading cloth for his seat, asking a question and receiving an answer, dancing in joy, private affairs, playing in the water and playing in the forest. When Śukadeva described the rāsa pastimes with great joy on answering a question, Parīkṣit also became joyful on hearing it. He did not find fault with it, since that would produce distaste. In three verses he mercifully raises a question, as if doubting, for the benefit of others who have doubts. The first two verses are together as one statement. The Lord appears in order to reestablish lost dharma, or protect what is current. Not only that, he comes in order to uproot adharma with all its subtle desires. Otherwise establishing dharma would be incomplete. The word hi indicates that this is well known. It is said dharma saṁsthāpanārthāya sambhaṁi yuge yuge: I appear in every yuga to establish dharma. (BG 4.8) As Bhagavān, manifesting his nature as the Lord, he appears with Balarāma. This shows his zeal. He does this since he is the protector of the universe. Otherwise the universe would be destroyed. Or, he is lord of the universe, though actually he is full of all powers according to the statement viṣṭabhyā ‘ham idam kṛtsnām ekāṁśena sthito jagat: I am spread in this whole universe by one small portion of my power. (BG 10.42) He has no other desires than to have pastimes with the gopīs. This verse should actually start with yat (who). He is the speaker of laws to protect the people or the speaker of rules concerning dharma mentioned in the Vedas. Since he is the speaker he must also be the executor of the laws. People will not accept if there is difference between his words and actions. He is the protector of the laws by increasing its popularity and destroying the opposition. Embracing another man’s wife is contrary to the laws of dharma or unfavorable for the establishment of dharma (pratīpam). O brahman, personification of the Vedas! By transgressing the Vedas with contrary acts, he transgresses brāhmaṇas like you. It is not suitable conduct for him since he respects the brāhmaṇas. Or, “How can I know the reasons since those are the actions of the Lord?” But you are the knower of all the Vedas (brahman), since you are omniscient. Or, he has done opposite (pratīpam): he has spoken adharma, performed adharma and protected adharma. He himself states his enjoyment of others’ wives. Mayāparokṣaṁ bhajatā tirohitam: even when I removed myself from your sight by suddenly disappearing, I never stopped loving you. (SB 10.32.21) He did it since he personally enjoyed them. He protected adharma since he did it repeatedly. Thus he encouraged others to do this. He has more fault than a person who simply sins without affecting others. Or, doing the opposite (pratīpam) he has really destroyed dharma and established adharma. Another meaning brings out the real truth. Real establishment of dharma is establishing bhakti. smartavyaḥ satataṁ viṣṇur vismartavyo na jātucit | sarva-vidhi-niṣedhāḥ syur etayor eva kiṅkarāḥ ||| One should always remember Viṣṇu and never forget Him. All injunctions and prohibitions are dependent on these two principles. Padma Purāṇa Kuntī explains the chief purpose of the Lord’s appearance: tathā paramahaṁsānāṁ munīnām amalātmanām | bhakti-yoga-vidhānārthaṁ kathaṁ paśyema hi striyaḥ || How can we women hope to see you, the object of bhakti for the omniscient, liberated sages? SB 1.8.20 The commentary of Śrīdhara Svāmī says “You have appeared to give bhakti-yoga.” Without instruction, by his influence this takes place. All contrary elements will, on their own, disappear (praśamāyetarasya). If that is so, how can he possibly commit a contrary act like touching other’s wives? He cannot do so for he is the speaker of bhakti, the shelter of all dharmas (dharma-setūnām). In order to spread the highest prema, the result of bhakti--his main purpose in appearing--it is proper that he should not respect other dharmas, such as having the gopīs give up serving their husbands. This is appropriate even in sādhana, what to speak of the gopīs for it is said: tāvat karmāṇi kurvīta na nirvidyeta yāvatā mat-kathā-śravaṇādau vā śraddhā yāvan na jāyate Only as long as one does not become detached from daily and periodic duties or has not awakened his faith in hearing topics about me, one must perform one’s prescribed duties of varṇāśrama. SB 11.20.9 Or, the reason he does contrary acts is because he is Bhagavān and the lord of the universe. This means that he is the source of all avatāras and the antaryāmī of all beings. Or, how can he commit contrary acts since he touches wives (dārāḥ) who are his svarūpa-śakti (para). He commits nothing contrary at all. You have already said that they are Kṛṣṇa’s wives (kṛṣṇa-vadhvaḥ).

Hearing with great attention Śukadeva describing the rāsa dance with affection, considering some devotees and dry logicians who were slightly smiling and glancing while squinting their eyes, Parīkṣit asks a question as a doubt to mercifully benefit them. This continues for three verses. The Lord appears in order to reestablish lost dharma, or protect what is current. Not only that, he comes in order to uproot adharma with all its subtle desires. Otherwise, establishing dharma would be incomplete. The word hi indicates that this is well known. It is said dharma saṁsthāpanārthāya sambhaṁi yuge yuge: I appear in every yuga to establish dharma. (BG 4.8) As Bhagavān, manifesting his nature as the Lord, he appears with Balarāma. This shows his zeal. He does this since he is the protector of the universe. Otherwise the universe would be destroyed. Or, he is lord of the universe, the protector. Or the lord appears in this world to destroy completely establishment of unlimited dharmas contrary to bhakti since his purpose as avatāra is accomplished by performing the rāsa dance, which is without such dharmas. “But he will then contradict the Vedas, created by himself.” He is the lord of the universe, of Brahmā and others. He is completely independent. For accomplishing his rasa, sometimes he will do such things. He has no controller. Or according to the following, dharma means bhakti: dharmo mad-bhakti-kṛt prokto jṣānaṁ caikātmya-darśanam guṇesv asaṅgo vairāgyam aiśvaryaṁ cāṇimādayaḥ Dharma means what produces bhakti. Real jṣāna is seeing Paramātmā everywhere. Real vairāgya is complete disinterest in sense objects. Real aiśvarya is acquisition of the siddhis. SB 11.1.27 Thus the Lord appears to establish bhakti and destroy what is unfavorable to bhakti, such as liberation, because he is the protector of the universe. Everyone’s happiness is established by establishing bhakti. This verse should actually start with yat (who). He is the speaker of laws to protect the people or the speaker of rules concerning dharma mentioned in the Vedas. Since he is the speaker he must also be the executor of the laws. People will not accept if there is difference between his words and actions. He is the protector of the laws by increasing its popularity and destroying the opposition. Embracing another man’s wife is contrary to the laws of dharma or unfavorable for the establishment of dharma (pratīpam). O brahman, personification of the Vedas! By transgressing the Vedas with contrary acts, he transgresses brāhmaṇas like you. It is not suitable conduct for him since he respects the brāhmaṇas. Or, “How can I know the reasons since those are the actions of the Lord?” But you are the knower of all the Vedas (brahman), since you are omniscient. Or, he has done opposite (pratīpam): he has spoken adharma, performed adharma and protected adharma. He himself states his enjoyment of others’ wives. Mayāparokṣaṁ bhajatā tirohitam: even when I removed myself from your sight by suddenly disappearing, I never stopped loving you. (SB 10.32.21) He did it since he personally enjoyed them. He protected adharma since he did it repeatedly. Thus he encouraged others to do this. He has more fault than a person who simply sins without affecting others. Or, doing the opposite (pratīpam) he has really destroyed dharma and established adharma. Or he did not violate them at all. Why? He is the the speaker of the rules of bhakti (dharma-setūnām). In order to spread special bhakti which is his chief goal as avatāra, it is suitable that he does not give respect to dharma. This is clear when he speaks about those who serve dharma: tāvat karmāṇi kurvīta na nirvidyeta yāvatā mat-kathā-śravaṇādau vā śraddhā yāvan na jāyate As long as one does not become detached from daily and periodic duties or has not awakened his faith in hearing topics about me, one should perform one’s prescribed duties of varṇāśrama. SB 11.20.9 Or though he is the speaker of the rules of dharma, why did he perform acts contrary? By performing the rāsa dance and promoting the highest bhakti, he accomplished the dharma of attaining him alone. Touching the women who were most excellent by pure bhakti to him (para), his own women, was proper, to fulfill the desires of his devotees while ignoring all else, since the purpose of his avatāra was bhakti. Touching others’ wives is a fault. These were his women, the best (para), his wives.

"If you argue that for the Supreme Lord there is no adharma, what would be his purpose in performing such abominable acts? One cannot answer that he does so to fulfill his desires, because his desires are already fulfilled (aptakamah)." "But in this avatara he must do these condemned activities." "Then how could he be the head of the Yadus who follow the highest dharma? This is not only my doubt but the doubt of many people. It is our (nah) doubt. That the lord, though he is apta kama and atma rama, enjoyed enthusiastically with the gopis, who were the very form prema and bliss, is a very deep concept. Not understanding, doubts will arise among people. Though you are deeply committed to proper conduct (suvrata), you have become extremely involved with the lilas involving such condemned conduct. From this also doubt arises."

If he acts in this way, how can he be the leader of the Yadus who are the greatest followers of dharma? There is no other doubt. Parīkṣit says “we” to indicate many people in the assembly. The heart becomes disturbed by the fact that Kṛṣṇa was the crown jewel of good conduct and also the corrupter of scripture. O Śukadeva, fixed in brahmacārya (suvrata)! He acted contrary to your conduct. This conduct is condemned. Or, you are fixed in good conduct (suvrata) but if you cannot explain this, then good conduct that you and others follow will be destroyed. There is another opposite meaning. He is the leader of the devotees (yadu-patiḥ). To give mercy to devotees, he sometimes transgresses dharma. Did he do condemned acts (jugupsitam)? Never. He has done what is approved by the devotees. Why? He desired to spread his prema through the rāsa pastimes (āpta-kāmaḥ). By spreading prema, the highest result, he did not perform censured acts, but rather by the rāsa dance he satisfied all the devotees. There can be no doubt about this. Moving his folded hands, Parīkṣit asked Śukadeva to destroy the doubts of those assembled, including himself out of humility. He says destroy “generally (prāya)” since some present, the devotees who know the conclusions of scripture and were inundated with rasa had no doubts about the rāsa pastimes filled with prema. I ask for the benefit of the inattentive members of the assembly. This is not my doubt. Therefore cut the chains of their doubts so they no longer have fear (abhi), O Śukadeva, fixed in bhakti (suvrata)!

Though the demigods commit adharma, they do not receive the reactions for that. What then to speak of the Supreme Lord? In this verse Sukadeva answers Pariksit’s first question in six verses. Though personalities such as Rudra (isvaranam) commit adharama (dharma vyatikramah) out of rashness(sahasa), they do not need to atone for those acts.

In seven verses, out of affection which is his nature, or out of affection for his disciple, Śukadeva rejects conclusions other than those presented by Parīkṣit through hidden meaning, while rejecting Parīkṣit’s apparent words of criticism. One sees acts of adharma in persons who are not dependent on dharma (īśvarānām) such as Brahmā being attracted to his daughter, done without fear (sāhasam), such as Bṛhaspati approaching the wife of Utathya (his elder brother). There is no fault in these powerful beings. An example is given. The fire burns everything but does not become impure.

The objection would be: "If the devatas commit adharma then others, following the principle of whatever great men do others will follow, will also commit acts of adharma." The answer is: "The lowly jiva, seeing the acts of the devas, should not even think of committing sinful acts. Doing so brings their destruction, just as any person other than Siva who attempts to drink halahala poison will immediately die. On the other hand, when Siva drinks the poison, he becomes more beautiful with a blue throat."

But this is not so for others. One should not at all perform acts that transgress dharma which these powerful beings perform. The prefix sam in samācaret indicates forbiddance. One should not do at all, at any time (jātu), not even in the mind (manasā), what to speak of using words or performing the act! This is certain (hi). One is destroyed completely (vi—naśyati), with suffering in this life and the next, if one acts in this because of not knowing that one is not qualified with the powers of the great īśvaras. An example is given concerning foolishness as a cause in eating. If one were not foolish, one would not try to consume the poisonous ocean. One will immediately die from the intense poison of the kālakuṭa. Śiva however does not die but rather attains glory by showing his special power. Thus Śiva is famous for his blue throat.

"Then in what circumstances should the rule that whatever the great man does others should follow apply?" "The instructions of the devas or great personalities are always auspicious for the devotees to follow. When the Lord performs pastimes as Rama, one should follow his instructions. One should perform only those acts which do not contradict the orders given by the devas or great persons. But even those instructions should be approved by scriptures. Then one can act, otherwise not. The intelligent person will conduct himself in this way. Krsna gave the order "Kill Asvatthama, who has killed your small children, in the night." (sb1.7.35) But Arjuna did not follow the instructions of Krsna to kill Asvatthama. Krsna has also instructed that one should not kill a brahmana even if he is sinful. Another instruction is that one should kill a person armed to kill others. Asvatthama was still a brahmana, and he was not armed to kill. Therefore he should not be killed. That was the opinion of Krsna in the form of scripture. Therefore Krsna’s order to Arjuna was simply a test of his religious principles.

One should accept orders of īśvaras as authoritative (satyam). One should follow the acts that they perform which are not contrary to their instructions. That instruction becomes stronger because of the īśvara’s similar conduct. A person should deliberate on this (buddhimān) and then act. Otherwise he is unintelligent.

Another version has iha cārtho na vidyate: there is not gain for the self in this world or the next (ca). The word vā indicates the same sentence structure as the previous statement. When they act in a contrary manner still there is no fault (the negative is understood). They are devoid of ahaṅkāra, with no contamination by the act. You are capable of understanding (prabho). Or, you are also in the category of īśvara. O lord (prabho)!

As the devatas are not at fault for trespassing dharma, then what to speak of Krsna?

If this is so for these īśvaras, and they are devoid of fault since they are without ahaṅkāra, then what fault can there be in the Lord who has appeared to benefit these īśvaras? This is expressed with kaimutika-nyāya. Kṛṣṇa is the Lord of all beings in tamas, rajas and sattva (animals, humans and devatās), who by their nature are to be controlled. He is the Lord of even liberated souls, since they are all dependent on the Lord (īśītavyānām). The word ca means tu to show difference. How could the Lord have connection with piety and impiety of these controlled beings? It does not exist. This is understood from the previous verse (na vidyate). He has no restrictions since he is the controller of all others. He is indeed the Supreme Lord. Kim uta means “excessively, strong, well” according to Amara-koṣa.