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.