Śrīmad-Bhāgavatam 10.90.8-9
Blended reading (Sanskrit + English inline)
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acyutaḥ
—
the infallible Lord
A name of Kṛṣṇa: one who never falls from His position. The poet's irony — the infallible Bhagavān 'falls' under syringes of perfumed water from His own wives. Aiśvarya consents to be hidden by līlā.
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vicikrīḍe
—
He sported
Intensive aorist of √krīḍ — to play. The same verbal root underlies krīḍana (toy), krīḍā (līlā). Bhagavān's actions are not work but krīḍā; the Vedānta-sūtra 'lokavat tu līlā-kaivalyam' (2.1.33) is here in narrative form.
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hasantībhiḥ
—
with the laughing women
Present participle of √has. The queens' laughter — the same hāsya-rasa that fills Vraja during Kṛṣṇa's pranks. Where there is intimate love with Bhagavān, there is laughter; sober worship alone is incomplete.
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yakṣa-rāṭ
—
the king of the Yakṣas
yakṣa + rāṭ (king). Kubera, surrounded by his Yakṣī nymphs in heavenly play, is the comparator. Gauḍīya commentators note this is upamā only — Kubera enjoys; Kṛṣṇa gives joy. The likeness is in form, not substance.
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upagīyamānaḥ
—
being sung to
Passive participle of upa + √gai — to sing toward. Even at play, Bhagavān is being glorified in kīrtana by gandharvas. Gauḍīyas note: there is no līlā of Kṛṣṇa not accompanied by saṅkīrtana of His glories.
Krsna was soaked in water from the water guns (recakaih) operated by the queens. They are compared to the yaksis because of their similar ferocity.
Kṛṣṇa was praised by Gandharvas playing instruments to accompany their singing and by bards reciting Purāṇas with accompaniment of vīṇās. There was also a screen around the water (so they could not see the playing). The wives and Kṛṣṇa played in the water using syringes. Kṛṣṇa never failed to be at the side of each one of them (acyutaḥ). To show their boldness they are compared to Kuvera and his women.
He was praised by singers as excellent as Gandarvas or, sometimes the devatās also came and praised him. Vadayadbhiḥ means by musicians. He was praised by all of them. Sprinkled by syringes he played with the women. He (acyutaḥ) was at the side of each woman. An example is given to show how one person played with many women. He was like Kuvera playing with many yakṣa women.
Picture a king who could command silence and instead consents to be splashed by his wives in a pool, laughing, sūta-poets reciting his glories overhead. Kṛṣṇa enters water-sport with His queens the way He once entered the Yamunā with the gopīs — Bhagavān willingly compressed into the rhythms of intimate play.
Earlier in Canto 10 (SB 10.21, 10.33) Kṛṣṇa enters the Yamunā with the cowherd maidens, splashing and chasing in the water. The Dvārakā jala-krīḍā here is its aiśvarya-echo — gandharvas now sing where once a single flute sufficed.
Gauḍīyas read the parallel as Bhāgavata's gentle reminder: the same Person who plays in queenly opulence here is at every moment hidden in Vraja, splashing village girls. Aiśvarya never erases the original mādhurya.
My note
Source: vedabase.io