Chapter 35

CHAPTER 35
In this chapter, when KRSNa has gone to the forest, the [gopIs]
take recourse of expressing in song their feelings of separation
from Him. In this manner they pass the daytime.
As the [gopIs'] mood of separation becomes evermore intense,

the names, forms, qualities and pastimes of Sri KRSNa begin to
spontaneously manifest in their hearts. They join together and
sing as follows: "The beauty of KRSNa attracts the minds of all.
When He stands with His threefold-bending form and plays upon His
flute, the wives of the Siddhas, who happen to be playing in the
sky, become attracted by KRSNa, even though they are in the
company of their husbands, and they forget external reality. The
bulls, cows and other animals standing in the pasture appear
stationary like figures in a drawing, the grass remaining in their
mouths unchewed between their teeth. Even the unconscious rivers
become checked in their movement.
"Just see, when KRSNa, although He is the Supreme Personality

of Godhead, dresses Himself in forest array and calls the cows
with the help of His flute, calling them by their names--
SyAmalI, DhavalI and so on-- even the trees and creepers then
experience the loving symptom of eruptions on their limbs and
pour down their sap as if it were torrents of tears. The cranes,
swans and other birds in the lakes close their eyes and stand
bewildered. The range of clouds in the sky gently rumbles in
imitation of the vibration of KRSNa's flute, and even such great
authorities in the science of music as the chief demigods Indra,
Siva and BrahmA become astonished, incapable of properly
identifying this sound. And in the same way as we [gopIs] are
anxious to offer everything we have to KRSNa, the wives of the
black deer follow KRSNa about in imitation of us.
"When KRSNa is returning to Vraja, playing His flute

constantly, BrahmA and all the other principal demigods come to
worship His lotus feet, while His young companions chant His
glories."
Experiencing their separation from KRSNa, the [gopIs] thus

sang about His pastimes.
TEXT 1
srI-suka uvAca
gopyaH kRSNe vanaM yAte
tam anudruta-cetasaH
kRSNa-lIlAH pragAyantyo
ninyur duHkhena vAsarAn
srI-sukaH uvAca-- Sri Sukadeva GosvAmI said; gopyaH-- the

[gopIs;] kRSNe-- Lord KRSNa; vanam-- to the forest; yAte-- having
gone; tam--after Him; anudruta-- chasing; cetasaH--whose minds;
kRSNa-lIlAH-- the transcendental pastimes of KRSNa; pragAyantyaH--
singing loudly; ninyuH-- they passed; duHkhena-- unhappily;
vAsarAn-- the days.
TRANSLATION
Sukadeva GosvAmI said: When KRSNa went away during the day to
the forest, the [gopIs] would unhappily spend the daytime singing
about His pastimes.
Sridhara SvAmI
In the thirty-fifth chapter, the women of Gokula, after KRSNa has

gone to the forest, spend their daytime unhappily by singing the
pairs of [slokas] given in this chapter. Now, how those [gopIs]
who during the night freely enjoyed themselves with KRSNa, during
the daytime pass the day by singing out of separation for Him, is
described by the verse beginning [gopyaH]. [DuHkhena] means
"with difficulty."
VisvanAtha CakravartI
In the thirty-fifth chapter, in twelve pairs of [slokas,] is

described how the [gopIs], having drunk the song of the KRSNa's
flute, pass the day in separation from Him. The [gopIs'] pure
love, when the moon was shining, bestowed upon them the coolness
of direct enjoyment with the Lord, and during the days gave the
heat of separation from Him. In this way their love manifested
in two different ways for the purpose of its own increase.
The [gopIs] having thus during the night enjoyed the conjugal
association of their beloved, and having drunk the nectar of His
dancing, singing, jokes and the nectar of His lips, in this way
became immersed in the [rasa] of direct enjoyment. Now, during
the daytime, when they were able to associate with Him only
mentally, they could drink only the nectar of the songs of His
flute, and thus were immersed in the [rasa] of separation, as
stated by the verse beginning [gopyaH]. Those whose minds were
quickly moving ([drutAni = vegena calitAni]), with KRSNa, who
was going to the forest, as their aim.
TEXTS 2-3
gopya U`cuH
vAma-bAhu-kRta-vAma-kapolo
valgita-bhrur adharArpita-veNum
komalAngulibhir A`srita-mArgaM
gopya I`rayati yatra mukundaH
vyoma-yAna-vanitAH saha siddhair

vismitAs tad upadhArya sa-lajjAH
kAma-mArgaNa-samarpita-cittAH
kasmalaM yayur apasmRta-nIvyaH
gopyaH U`cuH-- the [gopIs] said; vAma-- left; bAhu-- on His

arm; kRta-- putting; vAma-- left; kapolaH-- His cheek; valgita--
moving; bhruH-- His eyebrows; adhara-- upon His lips; arpita--
placed; veNum--His flute; komala-- tender; angulibhiH-- with His
fingers; A`srita-mArgam-- its holes stopped; gopyaH-- O [gopIs;]
I`rayati-- vibrates; yatra-- where; mukundaH-- Lord KRSNa;
vyoma-- in the sky; yAna-- traveling; vanitAH--the ladies; saha--
together with; siddhaiH-- the Siddha demigods; vismitAH-- amazed;
tat-- to that; upadhArya--listening; sa-- with; lajjAH--
embarrassment; kAma-- of lust; mArgaNa-- to the pursuit;
samarpita-- offered; cittAH-- their minds; kasmalam-- distress;
yayuH-- they experienced; apasmRta-- forgetting; nIvyaH-- the
belts of their dresses.
TRANSLATION
The [gopIs] said: O cowherd girls, when Mukunda rests His left
cheek on His left arm, when He contracts His eyebrows, places His
flute to His lips and causes it to vibrate, stopping its holes
with His tender fingers, at that time the demigoddesses traveling
in the sky, together with their husbands, the Siddhas, become
amazed. As they listen, they are embarrassed to find their minds
surrendered to the pursuit of lusty desires, and in this distress
they fail to notice that the belts of their garments are
loosening.
Sridhara SvAmI
The twelve pairs of verses beginning [vAma-bahu-kRta-vAma-

kapolaH:]
(Text 2) O [gopIs,] He whose left cheek is placed ([kRta =
arpita]) on His left arm, on the base of that arm. Lord
Mukunda, who makes His brows dance ([valgite = nartite]). He
whose flute is placed upon His lips, and the seven holes of whose
flute ([mArgAH = sapta-svara-chidrANi]) are covered ([A`sritAH])
by His tender fingers. When He thus plays ([I`rayati =
vAdayati]) (that flute).
(Text 3) Then the wives of the Siddhas, traveling in the sky,

although in the presence of the Siddhas, their own husbands, upon
hearing ([upadhArya = A`karNya]) the vibrating of His flute,
first of all become astonished, and then give their minds up to
the desires of lust. In other words, they come under his
(Lust's) sway. Being embarrassed, they experience bewilderment
([kasmalam = moham]). The symptom of this is stated, that they
have forgotten ([apasmRtAH= vismRtAH]) the belts on their
dresses. Therefore how can we ([gopIs]) tolerate the separation
of KRSNa, who is like this? This implied completion of the idea
should be assumed in connection with each of the verses of this
passage.
JIva GosvAmI
(Text 2) This chapter consists of statements collected from

the [gopIs] as they were standing in different groups scattered
here and there. Thus we see differences in address, such as
sometimes "O goddesses of Vraja" (Text 12), and sometimes "O pure
lady, your son, your darling" (Text 20). This collection,
however, is in definite order according to the pastimes occurring
in the morning and other times up until the nightfall. Thus
first, when on the way to the forest He vibrates His flute, the
ladies traveling in the sky experience bewilderment, since they,
being higher than everyone else, are the first to perceive (the
vibration of KRSNa's flute), as stated in the two verses beginning
[vAma].
(Text 3) The use of the word "tender" is to express affection.

[I`rayati] means "impels to sing."
Grazing the cows in the VRndAvana forest, and consoling the

trees, creepers, birds and animals of that place, who had been
distressed during the night with separation from Him, Lord KRSNa
plays upon His flute in order to announce His arrival. When He
does so, the [gopIs] experience the blazing forth of their
transcendental ecstasy as soon as they hear this, and, standing
in groups, they address their dear girlfriends, in the twelve
pairs of verses beginning [vAma].
O [gopIs,] He who has placed His left cheek on His left arm, on
the base of that left arm. In that manner (of resting His cheek
on His arm) it is possible to facilitate the rising and falling
of the song's melody. And in the same way we should understand
that He placed the bottom of His right thigh upon His left thigh.
Thus, it is implied, the Lord's three names as "charmingly
bent in three places," "having tilted neck" and "enchanting the
three worlds" became manifest. "Who is making His eyebrows
dance," the implication being that He did this in order to point
out to Subala and the others who were standing in front of Him
the fineness of His song. The short ending (of the word [bhru])
is by poetic license of the sages. When He places His flute upon
His lip, or else, when He gives it to His lip, how does He cause
it to play? (With His fingers) which are soft, much more tender
than those of other persons. According to the prescription of
the [SAmudrikA] (text on palmistry), "hands which do not show the
harshness of manual labor," by His fingers, which were a little
more hard than the rest of His limbs, the seven tone-holes
([sapta-svara-chidrANi]) of that flute were covered.
At that time the Siddha ladies, who were traveling in the sky,
even though together with their husbands, first of all, upon
hearing the vibration of the flute, became amazed: "Ah, we
experience such an enchantment from this vibration of the flute,
by which even though we are chaste ladies we become bewildered."
(And their husbands thought) "Even though we are men, this flute
makes us assume the mentality of women and become bewildered."
Thus first of all the (wives of the Siddhas) became filled with
bewilderment and then, together with the Siddhas, they became
embarrassed. (The ladies thought) "Certainly our husbands must
be able to surmise our transgression," and similarly (the men
thought), "Certainly our wives must be able to surmise our
unmanliness." Thus they became embarrassed before their own
husbands and before their own wives.
And then, together with (those of) the Siddhas, the minds of
those ladies became given over ([samarpitAni = dattAni]) to the
pursuit of desires of lust. Noting that Cupid's arrows, having
Sri KRSNa as their object, were fixed at them, (the wives of the
Siddhas said), "Our dear Sri KRSNa, so many of these arrows of
Cupid have been sent toward us, aimed at our minds, so please
immediately break these arrows. We have already given up as dead
our faithfulness to our husbands." (And the men said) "We have
already abandoned our manhood and our status as demigods, having
announced 'May KRSNa kindly enjoy with us,' and we have shown how
(our minds) are offered to Him by saying, 'May KRSNa immediately
by His mystic power turn us into cowherd women and enjoy with
us'."
And thus, together with the Siddhas, they attained [kasmalam,]

that is to say, by the torment of the arrows of Cupid they became
stunned ([moham = mUrchAm]). While experiencing this
bewilderment they spoke as described above. They were no longer
aware ([apasmRta = na smRta]) of the belts of their garments,
even though they were slipping. "Together with the Siddhas"
means that (also their husbands') knots upon their garments were
becoming loosened, as well as the knots in their hair. The lack
of the proper ending of the compound here (in the word [nIvyaH])
is poetic license of the sages.
The subtle implication is "If the demigoddesses and even the

demigods unprecedentedly experience such a condition, then why
are we-- who are human beings, and moreover cowherd girls, and
furthermore living in the same city as Him, and even more having
already had His intimate association-- standing here without His
company? Therefore let us rise, my dear girlfriends, and even if
we see our (relatives') foreheads burning"-- by which the [gopIs]
show their contempt for their husbands, sisters-in-law and so
forth-- "on some pretext we shall go into the VRndAvana forest and
enjoy with the beloved of our life." This implied idea should be
understood as carried over to the end of each pair of [slokas].
TEXTS 4-5
hanta citram abalAH sRNutedaM

hAra-hAsa urasi sthira-vidyut
nanda-sUnur ayam A`rta-janAnAM
narma-do yarhi kUjita-veNuH
vRndaso vraja-vRSA mRga-gAvo

veNu-vAdya-hRta-cetasa A`rAt
danta-daSTa-kavalA dhRta-karNA
nidritA likhita-citram ivAsan
hanta-- ah; citram-- wonder; abalAH-- O girls; sRNuta-- hear;

idam--this; hAra-- (brilliant) like a necklace; hAsaH-- whose
smile; urasi-- upon the chest; sthira-- motionless; vidyut--
lightning; nanda-sUnuH-- son of Nanda MahArAja; ayam-- this;
A`rta-- troubled; janAnAm-- for persons; narma-- of joy; daH-- the
giver; yarhi-- when; kUjita-- has vibrated; veNuH-- His flute;
vRndasaH-- in groups; vraja-- kept in the pasture; vRSAH--the
bulls; mRga-- the deer; gAvaH-- and the cows; veNu-- of the
flute; vAdya-- by the playing; hRta-- stolen away; cetasaH--
their minds; A`rAt-- at a distance; danta-- by their teeth;
daSTa-- bit; kavalAH-- whose mouthfuls; dhRta-- holding up;
karNAH-- their ears; nidritAH-- asleep; likhita-- drawn; citram--
an illustration; iva-- as if; A`san-- they were.
TRANSLATION
Just hear, dear girls, this astonishing wonder. When the son
of Nanda, the giver of happy relief to the troubled, the Lord
whose smile shines brilliantly like a jewelled necklace and whose
chest exhibits the goddess of fortune like a stationary bolt of
lightning, plays His flute, the bulls left back in the village
and also the deer and the cows, standing in groups at a great
distance, are all stunned by the musical performance. They keep
the food in their mouths between their teeth without swallowing
and lift their ears high, thus appearing asleep or like still
figures in a painting.
Sridhara SvAmI
(Text 4) O ([hanta = he]) girls, just hear this amazing thing.

He whose smile is brilliantly clear like a jeweled necklace, or
else, He whose smile is showing on His necklaces, because while
He is smiling He is bending His head downward to play His flute.
Or else, whose smile is casting its effulgence upon His chest
just like a necklace. Or else, whose necklaces are shining
brilliantly just like a smile. The words beginning [urasi:] He
upon whose chest the goddess of fortune stands just like
lightning. When ([yarhi = yadA]) His flute is vibrated
([kUjita-veNuH = nAdita-veNuH]).
(Text 5) At that time the bulls, deer and also the cows in
Vraja have their minds stolen away by the playing of the flute.
Even though they are far away ([A`rAt = dUrAt]), they are biting
the morsels of food in their mouths with their teeth (not
swallowing them), and they are holding up their extended ears.
They have become as if asleep and just like drawn characatures.
Indeed this is very wonderful for such ignorant animals.
JIva GosvAmI
And then, while going toward the forest, He played His flute in
order to bring together the cows and the cowherd boys. Thus,
what to speak of others, even the animals became bewildered, as
the [gopIs] describe in the two verses beginning [hanta]. They
indirectly refer to LakSmI, who is present as a line upon His
chest. They refer to her indirectly by the words "steady
lightning," but because of her being so famous, they do not
(need to) openly mention her.
(Text 5) The bulls who are being kept locked up in the cow
pasture; by connection with such bulls other animals are also
implied. But even those who are asleep may exhibit some slight
movement, in reply to which another example is stated by the
words beginning [likhita:] the use of the word "drawn" indicates
that this is even more amazing than images which are engraved.
The use of the singular form here is with the idea that they are
sharing the same mood.
What to speak of the wives of the demigods, who are the most
expert practitioners of social niceties, just hear how even the
foolish animals became bewildered, as other [gopIs] state: Ah,
this is wonderful, more amazing than the most amazing thing. The
phrase "O weak girls ([abalAH])" implies that from the beginning
KRSNa has stolen away your strength of chastity toward your
husbands. On whose chest, which is compared to a cloud because
upon it shows a smile like wisps of fog ([harANAm = balAkAnAm]).
And upon which cloud-like chest the line representing LakSmI is
present as an unmoving bolt of lightning. And thus it is implied
that by this cloud of KRSNa's chest, decorated with the wisps of
fog and the lightning, the sunlight of your faithfulness toward
your husbands has become obscured. Therefore He has created for
you distressed persons joking, meaning ridicule by everyone.
When? When His flute is vibrated. Simply by hearing the

reverberation of His flute, you [gopIs] become the objects of
ridicule of everyone, since the knots of your belts and of the
garlands in your hair become loosened, and you become insane.
But what to speak of humans like yourselves, even the animals
become stunned by the vibration of the flute, as they state:
[VRndasaH] means in their particular groups. The bulls remaining
in the cowherd pasture and the deer and cows standing in the
forest were biting with their teeth the morsels of grass in their
mouths; this means that while biting the grass with their teeth,
even before swallowing this the vibration of the flute, which had
just begun, forcibly entered their bodies through the path of
their ears, rather than their mouthfuls of grass entering their
bodies through the path of their mouths. Thus they held up their
ears stretched high, and in this way their minds were stolen away
by Him. Therefore, because none of their senses were
functioning, they appeared as if asleep, and since their
condition of standing still with the morsels of grass still being
chewed by their teeth did not cease, it is implied that neither
did they fall down on the ground. And then, as the [sancArI]
ecstasy of "being stunned" became even stronger, and they became
most stunned, they stood still like statues and even their
breathing becoming almost completely stilled. Thus they acquired
the further comparison of being like drawn images.
More specifically, the word [likhita] is used to express the

extreme wonderfulness of this, since pictures which are drawn
inspire more wonder than those that are etched. This is a subtle
implication of the [rasa] of "astonishment," with the idea that
"some wonderful artist has drawn these pictures on the canvas of
the sky."
TEXTS 6-7
barhiNa-stabaka-dhAtu-palAsair
baddha-malla-paribarha-viDambaH
karhicit sa-bala A`li sa gopair
gAH samAhvayati yatra mukundaH
tarhi bhagna-gatayaH sarito vai

tat-padAmbuja-rajo 'nila-nItam
spRhayatIr vayam ivAbahu-puNyAH
prema-vepita-bhujAH stimitApaH
barhiNa-- of peacocks; stabaka-- with the tail feathers;

dhAtu-- with colored minerals; palAsaiH-- and with leaves;
baddha-- arranged; malla-- of a wrestler; paribarha-- the
apparel; viDambaH-- imitating; karhicit-- sometime; sa-balaH--
with BalarAma; A`li-- my dear [gopI;] saH-- He; gopaiH-- with the
cowherd boys; gAH-- the cows; samAhvayati-- calls; yatra-- when;
mukundaH-- Lord Mukunda; tarhi-- then; bhagna-- broken; gatayaH--
their movement; saritaH-- the rivers; vai-- indeed; tat-- His;
pada-ambuja-- of the lotus feet; rajaH-- the dust; anila-- by the
wind; nItam-- brought; spRhayatIH-- hankering for; vayam--
ourselves; iva-- just like; abahu-- slight; puNyAH-- the piety to
whose credit; prema-- due to love of God; vepita-- trembling;
bhujAH-- whose arms (waves); stimita-- stopped; A`paH-- whose
water.
TRANSLATION
When Mukunda, dressed in the style of a wrestler with peacock

feathers, colored minerals and leaves, and accompanied, my dear
[gopI,] by BalarAma and the other cowherd boys, calls the cows,
then all the rivers lose their momentum. Although eagerly
hankering for the wind to bring them the dust of KRSNa's lotus
feet, these rivers are, sorry to say, no more fortunate than us
cowherd girls. Thus they remain with their currents stunned and
their waves merely trembling.
Sridhara SvAmI
(Text 6) Furthermore, there is even a more wonderful

appearance among the rivers, who lack even consciousness, as the
[gopIs] state: O friend ([A`li = sakhi]), He, Mukunda, is
imitating ([viDambayati = anukaroti]) the dressing ([paribarha =
parikara]) of wrestlers, His attire arranged with peacock
feathers ([barhiNa = mayUra] and [stabaka = piccha]), minerals
such as red earth and also leaves. Thus He appears in the
company of the cowherd boys. "Playing His flute," as stated
above, should be understood to be also implied here. When ([yatra =
yadA]) He calls the cows.
(Text 7) Then ([tarhi = tadA]), upon hearing that vibration,

the rivers' currents become broken as if they were hankering
after the dust of His lotus feet, which is being carried to them
by the wind. The word [vai] indicates certainty. Just as
ourselves, they (the rivers) are insufficiently pious, because
they do not attain (the dust of KRSNa's lotus feet). Rather the
arms of their waves are simply shivering out of love, and their
water becomes motionless ([stimita = niscala]). This indicates
that also in the eyes of the [gopIs] there was motionless water
(teardrops which were not falling).
JIva GosvAmI
And then, when he had entered the forest, decorated Himself

with forest ornaments and gone to a place a distance down the
river where there were many ponds in order to give the cows their
first watering of the day, He played on His flute in a special
way to call the cows, and by this even the rivers themselves
experienced a rising of special ecstasy and became bewildered, as
stated in this pair of verses.
(Text 6) The word [barhiNa] (in the compound [barhiNa-stabaka])
is the secondary element of the compound (being the first word),
according to the injunction "the instrumental case expresses the
idea 'together with'."
It is to be understood that in order to fortify Sri KRSNa's

vibrating of His flute, Sri Baladeva and the others also played
on their flutes, which further implies that the awakening of
ecstasy on the part of the rivers was focused exclusively upon
Sri KRSNa. At that time the rivers, understanding their
inability to attain Him in any other manner, were seen as simply
hankering for the wind to bring them a single particle of the
dust (of His lotus feet).
(Text 7) Because they are seen to have their movements

checked, their currents being stopped; thus the rivers appearing
in this way are lacking in pious credits just like us, on account
of having not attained Him. They appear as having insufficient
good [karma]. The implied idea is that just like ourselves they
also have but little opportunity to associate with KRSNa because
of the countless different categories of devotees, intimate and
otherwise, who share in Sri KRSNa's pastimes. So rather they
are seen first of all as standing with their waves, just like
outstretched hands, trembling out of the loving desire to attain
the dust of (His lotus feet). And after that their waters become
motionless; they exhibit no waves, or in other words, their
motion is checked. This is the sequence of ideas for the purpose
of the analogy, but the factual sequence is that first they came
into contact with that sound (of His flute), next their currents
became stunned, after that they exhibited movement only by their
waves, and after that even that stopped.
What to speak of conscious beings such as the bulls and deer,

just hear how even unconscious beings become stunned by hearing
the flute, as other [gopIs] state. The feathers ([stabaka =
picchAni]) of a peacock ([barhiNasya = mayUrasya]). Or else,
the word [barhiNa] by itself indicates "peacock feathers," and
[stabaka] are bunches of flowers. With these, together with
minerals such as red earth, and also leaves, there is arranged
the attire of wrestlers, which He is imitating, or, it may be
said, ridiculing with His own beauty.
Together with Lord Baladeva, that Lord Mukunda was accompanied

by the cowherd boys. When ([yatra = yadA]) He calls the cows
by their names, "Hey KAlindI, GangA, SarasvatI," then the
rivers-- the YamunA, MAnasa-gangA, SarasvatI and other rivers
present in Vraja-- even though they are unconscious, attain
consciousness, thinking, "Ah, ah, just see our great fortune, by
which He is calling us for the purpose of bathing in us and
diving into our water. So let us go from here to where He is,
breaking our shorelines with our fierce currents." Although they
were thus eager to go to the place where KRSNa was, their
movements were checked, meaning that because of the stunned
condition of their extreme ecstasy, they were checked even from
their normal movement, and they experienced the stoppage of their
flowing. Such is the implied completion of the statement.
The hidden implication is that their worldly progress was

spoiled ([bhagna = naSTa]) because of failing to attain the
happiness of physical association with KRSNa, and also because of
the ridicule heaped upon them by the other rivers, and in
addition their progress in the next world was spoiled because of
their loss of chastity toward their husbands. Thus the thought
implied is, "Just see their misfortune." But this is to some
extent good fortune also, as the [gopIs] state, that they (the
rivers) were hankering for the dust of His lotus feet, which was
brought by the wind, carried by a favorable wind. This implies
that even after attaining it they were not satiated, but again
and again desired it. Therefore just like ourselves both in
attaining and failing to attain the association of KRSNa, they
are [abahu-puNya,] not exactly impious, but not pious enough
([alpa-puNya]).
Out of love the arms of their waves were shaking, just as our
arms also tremble out of love. They whose water was becoming
solidified by their stunned condition and then again liquified.
We also experience the water in our eyes drying up just like one
who is lighting a sacrificial fire (experiences his eyes drying
up from the fire). The lack of the proper ending of the compound
here (in the word [A`paH]) is poetic license of the sages. In the
same way we also were checked in our movements, by being
prevented by our husbands, brothers and other relatives from
going out to see KRSNa. And by our being ridiculed by the
general populace and by our losing our faithfulness to our
husbands, we also became deprived of our worldly and
other-worldly destinations. Similarly we also hanker for the
aroma of His body.
_ Therefore just like ourselves both in
attaining and failing to attain the association of KRSNa, they
are [abahu-puNya,] n TEXTS 8-11
anucaraiH samanuvarNita-vIrya
A`di-puruSa ivAcala-bhUtiH
vana-caro giri-taTeSu carantIr
veNunAhvayati gAH sa yadA hi
vana-latAs tarava A`tmani viSNuM

vyanjayantya iva puSpa-phalADhyAH
praNata-bhAra-viTapA madhu-dhArAH
prema-hRSTa-tanavo vavRSuH sma
darsanIya-tilako vana-mAlA-
divya-gandha-tulasI-madhu-mattaiH
ali-kulair alaghu gItam abhISTam
A`driyan yarhi sandhita-veNuH
sarasi sArasa-haMsa-vihangAs
cAru-gIta-hRta-cetasa etya
harim upAsata te yata-cittA
hanta mIlita-dRso dhRta-maunAH
anucaraiH-- by His companions; samanuvarNita-- being

elaborately described; vIryaH-- whose prowess; A`di-puruSaH-- the
original Personality of Godhead; iva-- as if; acala-- unchanging;
bhUtiH-- whose potency; vana-- in the forest; caraH-- moving
about; giri-- of the mountains; taTeSu-- on the sides; carantIH--
who are grazing; veNunA-- with His flute; A`hvayati--calls; gAH--
the cows; saH-- He; yadA-- when; hi-- indeed; vana-latAH-- the
forest creeper; taravaH-- and the trees; A`tmani-- within
themselves; viSNum-- the Supreme Lord, ViSNu; vyanjayantyaH--
revealing; iva-- as if; puSpa-- with flowers; phala-- and fruits;
A`DhyAH-- richly endowed; praNata-- bowed down; bhAra-- because
of the weight; viTapAH-- whose branches; madhu-- sweet sap;
dhArAH-- torrents; prema-- out of ecstatic love; hRSTa-- hairs
standing on end; tanavaH-- on whose bodies (trunks); vavRSuH
sma-- they have rained down; darsanIya-- of persons who are
attractive to see; tilakaH-- the most excellent; vana-mAlA-- upon
His garland made of forest flowers; divya-- divine; gandha--
whose fragrance; tulasI-- of the [tulasI] leaves; madhu-- by the
honey-like sweetness; mattaiH-- intoxicated; ali-- of bees;
kulaiH-- by the swarms; alaghu-- strong; gItam-- the singing;
abhISTam-- desirable; A`driyan-- thankfully acknowledging;
yarhi-- when; sandhita-- placed; veNuH-- His flute; sarasi-- in
the lake; sArasa-- the cranes; haMsa-- swans; vihangAH-- and
other birds; cAru-- charming; gIta-- by the song (of His flute);
hRta-- taken away; cetasaH-- whose minds; etya-- coming forward;
harim-- Lord KRSNa; upAsata-- worship; te-- they; yata-- under
control; cittAH-- whose minds; hanta-- ah; mIlita--closed;
dRsaH-- their eyes; dhRta-- maintaining; maunAH--silence.
TRANSLATION
KRSNa moves about the forest in the company of His friends, who
vividly chant the glories of His magnificent deeds. He thus
appears just like the Supreme Personality of Godhead, exhibiting
unshakable power. When the cows have wandered onto the sides of
the mountains and KRSNa calls out to them, the trees and creepers
of the forest respond by seeming to manifest the Supreme Lord
ViSNu within their own hearts. They become so rich with flowers
and fruits that their branches are bent low by the weight. The
filaments on their trunks standing erect out of the ecstasy of
love of God, the trees and creepers pour down a rain of their
sweet sap.
When the bees, maddened by the honey-like aroma of the divinely

fragrant [tulasI] leaves on KRSNa's flower garland, sing loudly
for Him, He, the most excellently attractive of all
persons, thankfully acknowledges their song as agreeable to
Himself by taking His flute to His lips and playing it.
Thereupon the cranes, swans and other birds in the lakes feel
their minds being stolen away by the charming music of KRSNa's
flute. Indeed they approach Him and worship Him by meditation
with fixed consciousness, holding their eyes closed and
maintaining strict silence.
Sridhara SvAmI
(Text 8) A most amazing condition is seen even among the

non-moving beings, as the [gopIs] state: [AnucaraiH] means
either "with the cowherd boys" or else "with the demigods and
others." These are the words of innocent persons, such as "just
like the Supreme Personality of Godhead." [Acala-bhUti] means
whose opulence is permanent ([niscala]). Calling them with the
song of His flute, by each of their several names.
(Text 9) Then the creepers of the forest-- whose branches

([viTapa] = [sAkhA]) were bowed down by the weight (of their
flowers and leaves)-- were as if revealing ([prakAsamAnAH =
sUcayantyaH]) within themselves the presence of Lord ViSNu, and
were raining down a flow of honey. The word [sma] indicates
surprise. And also the trees, their husbands, experienced the
same ecstasy, it is implied. These are the symptoms of the
manifestation of Lord ViSNu (within one's heart).
(Text 10) Furthermore, in the lakes within the forest of lotus

flowers, also the birds who were playing there became attracted
within their minds by the song of His flute. "What then to speak
of other creatures," as the [gopIs] state by the word [darsanIya-
tilaka,] meaning "whose [tilaka] was attractive" or "who is the
chief among all attractive, beautiful persons." Together with
bees intoxicated by the sweetness ([madhu]) of the divinely
fragrant [tulasI] leaves upon His flower garland. [Alaghu] means
"loudly." Honoring, accepting with great respect, that desirable
([abhISTam = anukUlam]) song. When He places His flute upon His
lips.
(Text 11) At that time the cranes, swans and other birds in
the lake had their minds stolen away by that beautiful song.
Coming near ([etya = tatra A`gatya]), they worshiped ([upAsata =
abhajanta]), Lord Hari, or else, they sat down near Him. The
word [hanta] expresses remorse.
JIva GosvAmI
And then, seeing a piece of land by the mountain where there

was nice shade from the trees, the Lord Himself plays His flute
to call back the cows who had wandered off to a distance when He
had become inattentive while listening to the song of one of His
friends. In these surroundings even the immobile creatures
attained such an (ecstatic) state, as the [gopIs] describe in the
two verses beginning [anu].
(Text 9) Indeed all of the creepers in the forest. "ViSNu,"

who is included within the purview of pure ecstatic love, is
actually Sri KRSNa, because, being the universal concomitant of
such [prema,] He (KRSNa) is present everywhere (to the devotee
who is in love with Him). By the tacit implication underlying
the analogy, (KRSNa) is ViSNu or Sri NArAyaNa. And the further
elaboration of the analogy with the word [A`di-puruSa] is given
in order to state this even more obviously. Thus, viewing from
the angle of the analogy, the creepers and trees, being
respectively female and male, even though they are rich in
flowers and fruits, or in other words endowed with the results
of all goals of accomplishment, nevertheless had their branches
heavily bowing down. In other words, they were humbly bowing
down just like the four KumAras and other great saints.
"Downpours of honey" means their tears.
(Text 10) And then, when the noon had arrived, the Lord took
bath in some large lake, and after dressing Himself merely with
[tilaka] and garlands, He sat down on a stone by the root of a
huge tree. Then, after arranging for His friends to look after
the cows, He turned His attention exclusively to the singing of
the bees. Thus engaged, He enjoyed the sport of playing His
flute. Describing the situation thus, the [gopIs] were saying
"What to speak of the faithful attention of the non-moving
creatures all about, even those who are just the opposite (in
their mobility), the birds, acted similarly. Just hear about
this." This they state in the two verses beginning [darsanIya].
We should understand that the swarms of bees had to take turns

in coming close to Him, since the stronger ones drove off the
weaker. The word [abhISTa] expresses their great eagerness, or
else the transcendental nature (of their worship).
(Text 11) On the part of (these birds) the word [harim]

touches on the underlying idea of the same analogy as previously;
thus they were worshiping Lord Hari or ViSNu. The characteristic
of their worship is stated by the words beginning [yata].
(Texts 8-9) What to speak of the rivers, who although being

unconscious are eternally perfect beings in the form of demigods,
see how even the most lowly, dull entities, who have taken birth
only on the previous day or the day before that, become imbued
with transcendental mellows because of hearing the sound of
KRSNa's flute. This other [gopIs] state in the verses beginning
[anucaraiH]. [AnucaraiH] means "with the cowherd boys."
Just like the original Personality of Godhead, NArAyaNa, since

His opulence is permanent. Nonetheless He is moving through the
forest, because of His affection attraction for the living
entities who dwell in the forest. At that time, just as
household VaiSNavas and their wives become filled with ecstasy
when they hear the [sankIrtana] and therefore bow themselves
down, similarly the creepers of the forest, who are women, and
the trees, who are their husbands, (bow themselves down). As if
revealing [sphurantam = vyanjayantyaH = jnApayantyaH]) Lord ViSNu
within themselves, within their minds. They released ([sasRjuH
= mumucuH]) downpours of honey ([madhu = makaranda]), which
represented their tears. If we take the alternate reading
[vavRSuH] (instead of [sasRjuH]), this indicates the abundance of
their tears. They were appearing beautiful, rich with flowers
and fruits, with the flowers (representing) the [sancArI] ecstasy
of "gladness," and the fruits (representing) the [sthAyI] ecstasy
called [rati]. That their branches were bowed down with this
weight is the symptom of their [anubhAva] ecstasy. And the
statement that their trunks exhibited hair standing on end in the
jubilation of ecstatic love indicates the ecstatic symptom of
hair standing on end.
(Texts 10-11) Having described the VaiSNava status of the trees

and creepers, like that of devotees who are still attached to the
pleasures of household life, now the worship of ViSNu motivated
by the hearing of KRSNa's flute on the part of the swans, cranes
and other birds, who are like those who are self-satisfied
([AtmArAma]), is described by the [gopIs].
[DarsanIya] means worthy of being seen; He whose [tilaka] of

red minerals and other substances is such. Or else, He who is
like the [tilaka] of all extremely beautiful persons. The
[tulasI] on His flower garlands, which are composed of leaves and
flowers of five different colors, has a divine fragrance, and the
bees, becoming intoxicated from that fragrance, sing loudly,
([alaghu = uccaiH]), losing their inhibitions because of the
intoxication.
But, it may be questioned, it is such flowers as the lotus,

[mAlatI] and [nAga-kesarI] which are considered in this world
to be most fragrant. The [tulasI,] even though she is most
extremely exalted in all other ways, (is not considered
especially fragrant). This is replied to, that the [tulasI] has a
certain fragrance early in the morning, which people of this world
perceive as insignificant, but which transcendental personalities
are much more attuned to. The bees, moreover, who are privileged
to be in the flower garlands of the Supreme Personality of
Godhead are even more so attuned to this fragrance. Actually
(this fragrance of the [tulasI]) is only fully appreciable to the
superexcellent and most perfect sense of smell belonging to the
Supreme Personality of Godhead Himself. This is because in the
case of everyone else [YogamAyA] covers up (their sense of
appreciation of the fragrance of [tulasI]), as is stated in the
description of VaikuNTha ([BhAg]. 3.15.19),
[mandAra-kunda-kurabotpala-campakArNa-
punnAga-nAga-bakulAmbuja-pArijAtAH
gandhe 'rcite tulasikAbharaNena tasyA
yasmiMs tapaH sumanaso bahu mAnayanti]
("Although flowering plants like the [mandAra, kunda, kurabaka,
utpala, campaka, arNa, punnAga, nAgakesara, bakula,] lily and
[pArijAta] are full of transcendental fragrant, they are still
conscious of the austerities performed by [tulasI,] for [tulasI]
is given special preference by the Lord, who garlands Himself
with [tulasI] leaves").
The word [abhISTam] indicates that when He was about to begin

playing His flute, the Lord was considering what note He should
play. The bees who by chance happened to be assembled there
gave a buzzing sound, in reply to which the Lord honored them
([A`driyan = sammAnayan]), "Excellent, excellent, My dear bees,
I see this is the correct note," at that time when He firmly
placed ([sandhita = samyag dhRta]) the flute upon His lip. The
word [sandhita] means "that for which is generated a juncture
([sandhAnam = sandhA])," with derivation by the suffix which
PANinI designates [itac].
At that time (the birds), coming near Lord Hari from out of the
lake, worshiped Him, performed worship by looking at Him, hearing
and meditating. The phrase "their eyes closed" expressed their
[anubhAva] ecstasy of closing one's eyes on account of relishing
transcendental mellows.
TEXTS 12-13
saha-balaH srag-avataMsa-vilAsaH
sAnuSu kSiti-bhRto vraja-devyaH
harSayan yarhi veNu-raveNa
jAta-harSa uparambhati visvam
mahad-atikramaNa-sankita-cetA
manda-mandam anugarjati meghaH
suhRdam abhyavarSat sumanobhis
chAyayA ca vidadhat pratapatram
saha-balaH-- together with BalarAma; srak-- a flower garland;

avataMsa-- as the ornament of His head; vilAsaH-- playfully
wearing; sAnuSu-- on the sides; kSiti-bhRtaH-- of a mountain;
vraja-devyaH-- O goddesses of VRndAvana ([gopIs]); harSayan--
creating joy; yarhi-- when; veNu-- of His flute; raveNa--by the
resounding vibration; jAta-harSaH-- becoming joyful;
uparambhati-- causes to relish; visvam-- the entire world;
mahat-- against a great personality; atikramaNa-- of a
transgression; sankita-- fearful; cetAH-- in his mind;
manda-mandam-- very gently; anugarjati-- thunders in response;
meghaH-- the cloud; suhRdam-- upon his friend; abhyavarSat-- has
rained down; sumanobhiH-- with flowers; chAyayA-- with his shade;
ca-- and; vidadhat-- providing; pratapatram-- an umbrella as
protection from the sun.
TRANSLATION
O goddesses of Vraja, when KRSNa, together with BalarAma, is

playing on the slopes of a mountain, wearing a flower garland on
the top of His head, He takes pleasure in creating pleasure for
others by the resonant vibrations of His flute. Thus He delights
the entire world. At that time the nearby cloud, afraid of
committing offense against a great personality, thunders very
gently in accompaniment. He pours a rain of flowers onto his
dear friend KRSNa and provides with his shade an umbrella to
protect Him from the heat of the sun.
Sridhara SvAmI
Even the cloud serves Lord Hari, as the [gopIs] state in the
verse beginning [sa-balaH]. My dear goddesses of Vraja, my dear
[gopIs,] KRSNa, together with Bala, RAma, playing by decorating
His ears with garlands ([avataMsa = karNa-bhUSaNa]). Or else,
who plays by wearing a diadem of a pearl necklace. Standing on
the sides ([sAnuSu = taTeSu]), of a mountain ([kSiti-bhRtaH =
gireH]), He Himself becomes joyful when He gladdens the entire
world by filling it, making it reverberate, with the vibration of
His flute.
(Text 13) At that time the cloud is apprehensive in its mind

of committing a transgression against a great soul, KRSNa. It
does not go before the Lord, nor does it thunder loudly, but
rather, remaining in the same place, it very gently ([mandam
mandam]) thunders in reply to the sound of the flute.
Furthermore, the cloud is a well-wishing friend because of its
removing the distress of the entire world, and thus KRSNa,
because of His similarity in this way, is also a friend. The
cloud showered Him with flowers. Here the [gopIs] are speaking
with the imagined idea that the cloud is acting, when actually it
is the demigods who are showering flowers. Or else, they are
imagining that the small hailstones are flowers. Or else,
alternately, the cloud himself as a demigod is raining flowers.
The word [pratapatram] means umbrella, by the derivation [sAtapAt
trAyate] ("It shields from the sunlight"); in other words,
(giving such protection) by its shade.
JIva GosvAmI
(Text 12) And then, at the middle of the day, appearing

beautiful with garlands and head ornaments brought by His
friends, while wandering after the cows along the shadeless sides
of the mountains, out of desire for the shade of a cloud, the
Lord plays the [rAga] known as [mallAra]. Sri Baladeva and His
other friends echo this tune, which is further echoed by the
peaks of the mountains, and even further echoed by the entire
world.
Thus called for, the cloud, who is similar to the Lord, comes
by His desire, without any great effort (on KRSNa's part) of
bringing him. With the tumultuous sound of the musical vibration
generated by his gentle thundering, the cloud itself becomes
joyful and enlivens the entire world also. Thus the demigods,
who are hidden behind the cloud, rain down flowers as the Lord
plays in its shade. In this way the idea is introduced,
according to the thought in the minds of those who have
perception of this pastime, "Ah, what to speak of these separate
indications, just see the ecstasy experienced by the entire
world. What need is there to specifically mention any others?
Just hear about the ecstasy even of the cloud, who by nature is
far away, unconscious and mobile." Thus describing, the [gopIs]
infer from such appearance, qualities and behavior of the cloud
that he must be a well-wisher of Sri KRSNa, as they state in the
two verses beginning [sa-balaH]. Together with Sri Balabhadra
and, they imply, the other (cowherd boys).
(Text 13) Fearing in his mind a transgression against the

great soul, Sri KRSNa, the offense of covering the sound of His
flute, he becomes playfully affectionate ([uparambhati = kautakI
bhavati]), by the definition of the root, [rabha rAbhasye]. ("The
root [rabh] can carry the meaning "delight"). He, by nature a
well-wisher of Sri KRSNa, thus became playfully affectionate
toward his friend, by imitating His color and so forth.
Having described the ecstasy of those on the face of the earth,

now they also describe the ecstasy due to the vibration of the
flute of the dull beings in the sky. [Sa-balaH] means together
with the army of His companions. Who plays by wearing garlands
on the top of His head and on His chest, and also by wearing such
garlands as decorations on His ears. Standing on the slopes of a
mountain, when He becomes joyful by vibrating His flute in order
to make the whole world joyful ([harSayan = harSayitum]), He then
makes the whole world relish ([uparambhayati = upalambhayati =
A`svAdayati]), the sound of the flute. This is by the
equivalence of the consonants [ra-kAra] and [la-kAra] (in the
words [uparambhayati] and [upalambhayati]), and by the implied
idea of the causative form (designated by the suffix [N`ya]).
Here we can understand that KRSNa is a cloud standing on the

slope of the mountain, His garlands and ear ornaments are the
nodules of that cloud, His yellow garment is the lightning and
the sound of His flute is the rain pouring down the essence of
delicious nectar. Then the cloud in the sky is fearful in his
mind because of transgression against the great soul, the cloud
Sri KRSNa, who is greater than the greatest. He very gently
thunders in reply to the sound of the flute, in a favorable
rather than unfavorable way. (He rains upon) his well-wisher,
upon Him who is his friend by the sameness of acting to remove
the distress of the entire world and so forth, with flowers, the
small particles of ice which are just like tiny flowers. He
rains these down in order to relieve Him from the burning heat of
the sun from all sides ([abhi = paritaH]). (The next sentence
repeats Sridhara SvAmI's derivation of the word [pratapatram].)
TEXTS 14-15
vividha-gopa-caraNeSu vidagdho
veNu-vAdya urudhA nija-sikSAH
tava sutaH sati yadAdhara-bimbe
datta-veNur anayat svara-jAtIH
savanasas tad upadhArya suresAH

sakra-sarva-parameSThi-purogamAH
kavaya A`nata-kandhara-cittAH
kasmalaM yayur aniscita-tattvAH
vividha-- various; gopa-- of cowherds; caraNeSu-- in the

activities; vidagdhaH-- expert; veNu-- of the flute; vAdye-- in
the matter of playing; urudhA-- manifold; nija-- of His own
production; sikSAH-- whose teachings; tava-- your; sutaH-- son;
sati-- O pious lady (YasodA); yadA-- when; adhara-- upon His
lips; bimbe-- which are like red [bimba] fruits; datta-- placing;
veNuH-- His flute; anayat-- He brought forth; svara-- of musical
sound; jAtIH-- the harmonic tones; savanasaH-- with variety of
low, high and middle pitches; tat-- that; upadhArya-- hearing;
sura-I`sAH-- the principle demigods; sakra-- Indra; sarva--
Siva; parameSThi-- and BrahmA; puraH-gamAH-- headed by; kavayaH--
learned scholars; A`nata-- bowed; kandhara-- their necks;
cittAH-- and minds; kasmalam yayuH-- they became bewildered;
aniscita-- unable to ascertain; tattvAH-- its essence.
TRANSLATION
Pious mother YasodA, your son is very expert in all cowherding

arts. He has taught many new styles of playing the flute, each
of His own devising. When He takes His flute to His [bimba]-red
lips and raises the tones of the harmonic scale in melodies of
variously modulated pitch, the exalted chiefs of the demigods who
hear this, headed by Lord BrahmA, Lord Siva and Lord Indra,
attentively bow down their heads and their hearts. Even though
they are the most learned authorities, they become confused,
unable to identify the essence of this music.
Sridhara SvAmI
"And there is also this great cause of wonderment," as the

[gopIs] state in the verse beginning [vividha]. O pure lady,
YasodA, your son is expert ([vidagdha = nipuNa]) in various
cowherd sports. (These melodies) are taught by Himself in the
subject matter of playing upon the flute; that is to say, they
are derived from His own creation, not heard from anyone else.
"The melodious sequences of tones" means the different melodies
composed of the notes known as [niSadha, R`Sabha] and so forth;
[anayat] means "He produced these ([unnItavAn])."
(Text 15) Those ([tat = tAH]) sequences of tones; [savanasaH]

means according to the differences of low, middle and high pitch.
Because they had their necks and their minds bent low out of
attraction to the vibration of the flute. [UpadhArya] means
"listening carefully." Although scholarly experts ([kavayaH =
kovidAH]), they did not know for sure the facts, the specific
difference (of these musical arrangements), and became bewildered
([kasmalam = moham]).
JIva GosvAmI
This private assemblage of [gopIs] having gathered in the

transcendental cowherd village, now the Queen of the cowherd
community (YasodA) has also joined them, her presence being
included here by dint of the sequential relating of His pastimes
reaching (the point which was relevant to her, namely the Lord's
childhood pastimes).
Then, in the afternoon, some [gopIs,] present logical reasons

why their beloved, who is supposed to be coming, has remained
absent from their sight so long. They went to the house of the
Queen of Vraja on some pretext, and in the company of many
different persons-- elders, youths and children-- Mother YasodA
was listening to and also herself relating numerous narrations of
her own son's transcendental qualities, activities and power. In
order to pacify her, who was becoming overwhelmed with separation
from her son, and also in order to pacify their own minds, the
[gopIs] address her and describe the qualities and the power of
the song of KRSNa's flute, in the verse beginning [vividha].
O pure lady, Sri YasodA, when your son, who is expert in the
various activities ([caraNAni = A`caraNAni]) of cowherds-- the
milking, fettering and so on of the cows at the proper times--
placed His flute upon His lips and raised ([anayat = anItavAn])
melodies of the musical tones known as [SaDja] and so on, meaning
either the eighteen principal forms of melody or else thousands
of such. What were these melodies like? They comprised learning
in the subject matter of flute playing which was variegated
([urudhA = bahu-prakAra]) and taught by Himself, rather than by
anyone else. [SavanasaH] means at the proper time.
Hearing this vibrating of the musical melodies, the demigods

whose leaders ([purogama = mukhya]) were Sakra, Sarva and also
ParameSThI. Led by Sakra were Upendra, Agni, YamarAja and
others. Led by Sarva were KAtyAyanI, Skanda, GaNesa and others.
Led by BrahmA were the four KumAras, NArada and others. Even
though they are poets, creators of different kinds of song and
meter. Whose necks and minds also were bowed down, which
indicates their transcendental ecstasy of tasting that sweetness.
They who could not understand the real identity ([tattvam =
svarUpam]) of the musical scales, the meters and the different
tones. Thus, because of their ignorance and also because of the
sweetness of the flute's song, they became bewildered. "Ah, when
even the lords of the universe become bewildered, what to speak
then of the bewilderment of others, the creatures of the universe
who are controlled by them." The implied idea is "O respectable
lady, your son has become the enchanter of the entire universe."
_his vibrating of the musical melodies, the demigods
whose leaders ([purogama = mukhya]) were Sakra, Sarva a TEXTS 16-17
nija-padAbja-dalair dhvaja-vajra-
nIrajAnkusa-vicitra-lalAmaiH
vraja-bhuvaH samayan khura-todaM
varSma-dhurya-gatir I`Dita-veNuH
vrajati tena vayaM sa-vilAsa-

vIkSaNArpita-manobhava-vegAH
kuja-gatiM gamitA na vidAmaH
kasmalena kavaraM vasanaM vA
nija-- His own; pada-abja-- of the lotus feet; dalaiH-- like

flower petals; dhvaja-- of a flag; vajra-- thunderbolt; nIraja--
lotus; ankusa-- and elephant goad; vicitra-- variegated;
lalAmaiH-- by the markings; vraja-- of Vraja; bhuvaH-- of the
ground; samayan--pacifying; khura-- from the hooves (of the
cows); todam-- the pain; varSma-- with His body; dhurya-- like an
elephant's; gatiH-- whose movement; I`Dita-- extolled; veNuH--
whose flute; vrajati-- He walks; tena-- by that; vayam-- we;
sa-vilAsa-- playful; vIkSaNa-- with His glances; arpita--
bestowed; manaH-bhava-- of lust; vegAH-- whose agitation; kuja--
like that of trees; gatim-- whose movement (i.e., complete lack
of movement); gamitAH-- attaining; na vidAmaH-- we do not
recognize; kasmalena-- because of our bewilderment; kavaram-- the
braids of our hair; vasanam-- our dress; vA-- or.
TRANSLATION
KRSNa's strolling relieves the ground of Vraja from the

distressed caused for it by the hooves of the cows, as He marks
that ground with the distinctive emblems of His lotus feet-- the
flag, thunderbolt, lotus and elephant goad. His body moves with
the gait of an elephant while He plays His renowned flute, and this
makes us [gopIs] feel the urgings of Cupid, forced upon us by
KRSNa's glances at us. Becoming motionless like trees, we do not
even notice the state of our hair and dress.
Sridhara SvAmI
(Text 16) "What then can we say about our own bewilderment?"
This they describe in the verse beginning [nija-padAbja-dalaiH].
By those (feet) which had such variegated marks ([lalAma =
cihna]) as the flag and so on. These feet of His were
themselves just like lotus petals, and by them He was relieving
the earth's pain caused by the passing over of the hooves (of the
cows). That KRSNa who with His body ([varSmaNA = dehena])
appeared just like an elephant ([dhurya = gaja]), or in other
words, whose movements were like that of an elephant. While
playing His flute, He walked ([vrajati]).
(Text 17) For that reason we, who are experiencing the
agitation of Cupid which has been placed upon us by His playful
glances, have attained the state ([gamitAH = satyaH]) of having
the movement ([gatim]) of trees ([kuja = vRkSa]). Thus out of
bewilderment we do no recognize either the garlands in our hair
or our garments (which are both becoming loosened).
JIva GosvAmI
And then once again we find the [gopIs] assembled in privacy,

as is required by the confidential mellows of the pastimes which
occurred after those mentioned above. Thus, even though they had
passed the time in hearing so many different topics about Him,
still even after three [yAmas] (nine hours) Sri KRSNa had not
come, and so some of the [gopIs,] feeling very anxious, went to
search after Him at the time of turning the cows back from the
forest, taking the pretext of going out to collect flowers and so
forth. This was on some other occasion that they went into the
midst of the forest, and what they saw then they are now relating
on a later day. The idea of the verse is introduced as follows:
"O intimate friends, so much for all these different descriptions
of the bewilderment of others, just hear how we are most
definitely bewildered." Thus, beside themselves in ecstatic
feeling, the [gopIs] speak the two verses beginning [nija].
The word [nija] expresses the exceptional nature (of the

markings), and the plural form expresses great respect. They
wanted to express the unprecedented beauty of each and every
mark. The word [dalaiH] is used here as a reference to the
ground within the land of Vraja, that is to say, to the blades of
grass and other plants that were found on that ground. Pacifying
the distress caused by the hooves of the cows and other animals,
because when Sri KRSNa passed by after the cows, by the natural
effect of the touch of His lotus feet, immediately the grasses
and sprouts grew up again. Thus it is implied that there must
have been countless herds of cows being grazed there.
Then, to those of their girlfriends who were standing in other

groups, they described how the sound of the flute caused their
own bewilderment. His feet are themselves lotus petals; by them,
which had the variegated marks of the flag and so forth.
Counteracting the pain caused by the passing over of the hooves
of the cows who were moving forward at the time of returning to
the cowherd village, when, in order to thus subdue the earth's
distress by placing His own lotus feet upon her, He, KRSNa, whose
movement with His transcendental body is like that of an
elephant, walks.
At that time we experience the agitation of Cupid placed upon

us by Sri KRSNa with His playful glances, and we achieve the
motion (that is to say, the motionlessness) of trees. Thus out
of bewilderment we do not recognize the garlands in our hair or
our garments. That is to say, we do no notice that they are
slipping. This indicates that the Lord pacified the distress of
the earth caused by the animals' hooves by placing upon it His
lotus feet, but for the beautiful-browed ladies of Vraja, He
created distress within their minds by laying upon them His lotus
eyes. This is our bad fortune, the [gopIs] are implied as
thinking.
TEXTS 18-19
maNi-dharaH kvacid A`gaNayan gA

mAlayA dayita-gandha-tulasyAH
praNayino 'nucarasya kadAMse
prakSipan bhujam agAyata yatra
kvaNita-veNu-rava-vancita-cittAH
kRSNam anvasata kRSNa-gRhiNyaH
guNa-gaNArNam anugatya hariNyo
gopikA iva vimukta-gRhAsAH
maNi-- (a string of) gems; dharaH-- holding; kvacit--

somewhere; A`gaNayan-- counting; gAH-- the cows; mAlayA-- with a
flower garland; dayita-- of His beloved; gandha-- having the
fragrance; tulasyAH-- the [tulasI] leaves upon which;
praNayinaH-- loving; anucarasya-- of a companion; kadA-- at some
time; aMse-- on the shoulder; prakSipan-- throwing; bhujam-- His
arm; agAyata-- He sang; yatra-- when; kvaNita-- vibrated; veNu--
of His flute; rava-- by the sound; vancita-- stolen; cittAH--
their hearts; kRSNam-- KRSNa; anvasata-- they sat down beside;
kRSNa-- of the black deer; gRhiNyaH-- the wives; guNa-gaNa-- of
all transcendental qualities; arNam-- the ocean; anugatya--
approaching; hariNyaH-- the female deer; gopikAH-- the [gopIs;]
iva-- just like; vimukta-- having given up; gRha-- for home and
family; A`sAH-- their hopes.
TRANSLATION
Now KRSNa is standing somewhere counting His cows on a [mAlA]

of jewels. He is wearing a flower garland with [tulasI] leaves
that bear the fragrance of His beloved, and He has thrown His arm
onto the shoulder of an affectionate cowherd boy. When He then
sings and plays His flute, the sound produced attracts the
attention of the wives of the black deer, who come near and sit
down beside KRSNa, the reservoir of all transcendental qualities.
Just like ourselves, the cowherd women, they have given up all
hope for happiness in family life.
Sridhara SvAmI
Moreover, He is [maNi-dhara,] meaning that He carries jewels

strung together for counting the cows. In some place ([kvacid
dese]) He was counting the cows on all sides ([A` = samantAt])
with these (stringed jewels). And He also had a garland upon
which the [tulasI] had the fragrance of His beloved. Placing His
arm upon the shoulder of a dear companion ([praNayinaH = priyasya
anucarasya]). When ([yatra = yadA]), at some certain time, He
sang.
(Text 19) At that time the wives ([gRhiNyaH = bhAryAH]) of the

deer ([kRSNasya = hariNasya]), whose minds were stolen ([vancita
= apahRta]) by the sound of the flute as He played it, came up
([anugatya = prApya]) to KRSNa, the ocean of transcendental
qualities ([guNa-gaNArNam = guNa-gaNa-samudram]). They sat down
by KRSNa, or in other words, they stopped. Why? Because they
had given up their hopes for family life, just like the [gopIs].
This indicates that the [gopIs] also sat down near KRSNa in the
same manner.
JIva GosvAmI
And then, in the afternoon, dressing Himself anew in different

attire, He by playing His flute gathers together the cows once
more in order to bring them home, and He also counts them. The
[gopIs] state "Alas, if even the animals are thus attracted, then
what to speak of us [gopIs]," in the two verses beginning [maNi].
Wearing a garland of jewels.
Just like the bewilderment of themselves, who were remaining in

the cowherd village, the bewilderment caused by the sound of
KRSNa's flute for the animals who were present in the forest is
described by the [gopIs]. [MaNi-dhara] means carrying a garland
of jewels for counting the cows.
Of the four colors (of cows)-- white, red, black and yellow--
there are twenty-five sub-divisions, which make a total of one
hundred colors. And similarly, by the varieties of being colored
like sandalwood-pulp [tilaka] (speckled), and of having heads
shaped like [mRdangas] and so forth, there are a further eight
subdivisions. Thus, according to these 108 different colors and
forms, KRSNa is utilizing that number of jewel-beads for counting
the cows. This means that KRSNa sometimes has a [japa-mAlA]
especially for counting cows; with that [mAlA] in His hands, even
though the cows are innumerable, He is counting them according to
the 108 different categories. Thus while calling out, "Hey
DhavalI (the name of a white cow)," just as a whole group of
(white) cows comes forward, similarly when He calls "HaMsI,
CandanI, GangA, MuktA," the other cows of that same group come
forward, as is similarly the case with the twenty-four other
groups. Thus also (another particular group of cows) are named
AruNI, Kunkuma and SarasvatI (being red cows), yet another group
are called SyAmalA, DhUmalA and YamunA (being blackish), another
group is called PItA, PingalA and HaritAlikA (being yellow),
another group is called CitritA, Citra-tilakA, DIrgha-tilakA and
Tiryak-tilakA (because they have marks of [tilaka] on their
foreheads), and yet another group are known as MRdanga-mukhI,
SiMha-mukhI and so on.
Thus being called by their own names, the cows are coming
forward, and with the thought that when it is time to bring them
back from the forest none of the cows should be forgotten, He is
counting the cows by turning each of the jewel beads. He is
standing with a garland upon which the [tulasI] has the fragrance
of his beloved. When, placing His arm upon the shoulder of His
dear friend, He sang, then the wives of the black deer ([kRSNasya
= kRSNa-sArasya]) had their minds stolen by the sound of the
flute as played by Him, and they came near ([anvasata = anvAsata
= anvavartanta]) KRSNa. This (fact of the deer remaining near
KRSNa) is because, having approached Him, the ocean of
transcendental qualities, they were able to relish His qualities.
These deer who gave up their hopes for family life, just like the
cowherd girls, which implies that "We also have become like
that."
TEXTS 20-21
kunda-dAma-kRta-kautuka-veSo
gopa-godhana-vRto yamunAyAm
nanda-sUnur anaghe tava vatso
narma-daH praNayiNAM vijahAra
manda-vAyur upavAty anukUlaM
mAnayan malayaja-sparsena
vandinas tam upadeva-gaNA ye
vAdya-gIta-balibhiH parivavruH
kunda-- of jasmine flowers; dAma-- with a garland; kRta-- made;

kautuka-- playful; veSaH-- His array; gopa-- by the cowherd boys;
godhana-- and the cows; vRtaH-- surrounded; yamunAyAm-- in the
YamunA; nanda-sUnuH-- the son of Nanda MahArAja; anaghe-- O
sinless lady; tava-- your; vatsaH-- darling child; narma-daH--
amusing; praNayiNAm-- His dear companions; vijahAra-- He has played;
manda-- gentle; vAyuH-- the wind; upavAti-- blows; anukUlam--
favorably; mAnayan-- showing honor; malaya-ja-- of (the fragrance
of) sandalwood; sparsena-- with the touch; vandinaH-- offerers
of praise; tam-- Him; upadeva-- of the minor demigods; gaNAH--
members of the various categories; ye-- who; vAdya-- with
instrumental music; gIta-- singing; balibhiH-- and presentation
of gifts; parivavruH-- they have encircled.
TRANSLATION
Whimsically enhancing His dress with a necklace of jasmine

flowers and accompanied by the cowherd boys and the cows, O
sinless YasodA, your darling boy, the son of MahArAja Nanda, is
sporting in the YamunA, amusing His dear companions. The gentle
breeze is bringing to Him the touch of sandalwood while the
Upadevas, standing on all sides just like professional
praise-givers, offer their music, song and gifts of tribute.
Sridhara SvAmI
Having thus played in the various areas of the VRndAvana

forest, when the evening came He turned the cows back. The
[gopIs] thus describe the great beauty of the Lord as He was
playing on the banks of the YamunA, in the verse beginning
[kunda-dAma-kRta-kautuka]. In order to create a festivity for
the [gopIs,] He had made His decoration ([veSa = alankAra]) with
garlands of jasmine flowers, as a festivity ([kautukena =
utsavena]). O sinless one, YasodA, your son ([vatsa = putra]),
the son of Nanda, KRSNa. Or else, since many different [gopIs]
were speaking simultaneously, some of them said "your son," and
others said "the son of Nanda." When He, giving pleasure
([narmada = harSa-da]), played ([vijahAra = krIDati sma]).
(Text 21) Then (the wind) with its touch, which was fragrant
and cool like the [candana] from the Malaya Hill, was honoring
that KRSNa, by blowing toward Him, fanning Him, in a favorable
way. Or else, the wind which is [malaya-ja,] meaning coming from
the south. Or else, honoring with its touch KRSNa, who had
anointed His own limbs with sandalwood pulp ([malayaja]).
Furthermore, present like professional prayer-sayers, the
Gandharvas and other groups of demigods surrounded the Lord,
worshiping Him on all sides with instrumental music, song, rains
of flowers and so forth.
JIva GosvAmI
And then we find, again in the court of the Queen of Vraja, the
description of the pastimes which happened after the
above-mentioned pastimes, at the time of collecting the cows and
so forth. And it is implied that this collecting of the cows was
on the occasion of bringing the cows to drink for the second time
in the day. (The [gopIs]) thus within themselves experiencing
such pastimes, they went up to the Lord's mother, who was very
distressed by the passing of the time, and described to her
(these pastimes) in the same manner as they spoke to her before,
hoping to make her feel better by talking about His return. This
the [gopIs] speak in the three pairs of verses beginning [kunda].
Thus they try to pacify her by (demonstrating) that His

pastimes give pleasure to everyone, and that they can give
everyone the pleasure of rendering devotional service unto Him.
In this way they explain to her the reason why He is late, in the
two verses beginning [kunda]. "He played in the YamunA"
indicates that after enjoying His bath in her water, He
sportingly played on her shore.
(Text 21) By the words [kunda] and [manda] (referring to the

wind) we can ascertain that this is the month of KArttika. This
is so because we do not find jasmine flowers in the spring, and
because the wind is harsh in the late autumn and winter seasons.
Then, going to the house of the Queen of Vraja in the

afternoon, the cowherd girls console her, who is disturbed by her
son's delay in returning, by telling her the reason for His
delay, in the verse beginning [kunda-dAma]. [Sri VaiSNava-
toSaNI] states that this is a passage consisting of three pairs
of verses together. Passing along the YamunA, and bathing in her
to relieve Himself of fatigue, and then sitting down on her
shore, when He put on garments meant for creating wonderment,
with the idea of giving pleasure to His own relatives and friends
who were waiting to meet Him with great eagerness, He was playing
(in the water) with His foot ([vijahAra = pAda-vihAraNaM
cakAra]), and at that time a gentle breeze blew; such is the
proper sequence of the words.
He both breaks ([dyati = khaNDayati]) and bestows ([dadAti]) the

[narma] or mutual laughing and joking of His young companions
([praNayinAm = vayasyAnAm]). The address "O sinless one"
implies, "You have no sinful reactions, either from the distant
past or recent, by which your son would suffer evil. So why
are you in anxiety that simply because He is a little late He
must have suffered some evil at the hands of demons or others?"
After all, He is the son of Nanda MahArAja, who is famous as the
crest-jewel of all pious men. And He is the darling, the son
who is the receiver of greatest affection, of YasodA, who is
famous as the most pious ([mahA-puNya-yasasvitvena]). In this
material world it is because of the bad fortune of the mother and
father that a child suffers evil, so therefore no evil can
possibly befall KRSNa.
"We know the cause of His being late because we have heard it
from the mouths of the young children, so please hear this from
us." This the [gopIs] then state by the verse beginning [manda].
The wind, which has acquired its fine fragrance and its coolness
by having touched the sandalwood tree which grows on the Malaya
Hill, and thus by both these qualities has become unable to move
quickly-- this wind is honoring KRSNa by blowing in a favorable
way. Also the minor demigods, the Gandharvas and others, who are
the givers of praise ([vandinaH = stavakAH]), have surrounded Him
([parivavruH = avRNvan]), exhibiting each their own expertise
with their musical performance and so forth. Therefore, in order
to acknowledge them He is delaying Himself, according to the
logic that "a person who knows what is good takes pleasure in
good qualities." So it is not appropriate that you feel distress
in this regard. Actually it is your great fortune that they are
honoring your son in this manner.
_
TEXTS 22-23
vatsalo vraja-gavAM yad aga-dhro

vandyamAna-caraNaH pathi vRddhaiH
kRtsna-go-dhanam upohya dinAnte
gIta-veNur anugeDita-kIrtiH
utsavaM srama-rucApi dRsInAm

unnayan khura-rajas-churita-srak
ditsayaiti suhRd-A`siSa eSa
devakI-jaThara-bhUr uDu-rAjaH
vatsalaH-- affectionate; vraja-gavAm-- to the cows of Vraja;

yat-- because; aga-- of the mountain; dhraH-- the lifter;
vandyamAna-- being worshiped; caraNaH-- His feet; pathi-- along
the path; vRddhaiH-- by the exalted demigods; kRtsna-- entire;
go-dhanam-- the herd of cows; upohya-- collecting; dina-ante-- at
the end of the day; gIta-veNuH-- playing His flute; anuga-- by
His companions; I`Dita-- praised; kIrtiH-- His glories; utsavam--
a festival; srama-- of fatigue; rucA-- by His coloring; api--
even; dRsInAm-- for the eyes; unnayan-- raising; khura-- from the
hoofs (of the cows); rajaH-- with the dust; churita-- smeared;
srak-- His garland; ditsayA-- with the desire; eti-- He is
coming; suhRt-- to His friends; A`siSaH-- their desires; eSaH--
this; devakI-- of mother YasodA; jaThara-- from the womb; bhUH--
born; uDu-rAjaH-- moon.
TRANSLATION
The lifter of Govardhana Hill is most affectionate to the cows

of Vraja. At the end of the day He collects them all while
exalted demigods stand along the path worshiping His lotus feet.
He plays a song on His flute as the cowherd boys accompanying
Him chant His glories. The dust raised by the cows' hooves is
smeared on His garland, and the very change in His complexion
due to His fatigue creates an ecstatic festival for all eyes.
Eager to fulfill the desires of His friends, He is like the moon,
having risen from the womb of mother YasodA.
Sridhara SvAmI
Seeing Him coming and becoming joyful, the [gopIs] speak to

each other, in the verse beginning [vatsala]. And of the cows of
Vraja, or else, of the [gos] who are situated in Vraja, namely
those who are to be pitied, ourselves. [Vatsala] means one who
acts beneficially. Why? Because ([yat = yasmAt]) He is
[aga-dhra,] meaning that He carries the mountain, that He is the
lifter of Govardhana. This is an indirect reference to His
giving protection on many occasions. His feet being worshiped
along the path by the [vRddhas,] BrahmA and others. The
implication is that being envious, they do not let Him come back
quickly in the evening. [Upohya] means "bringing together in one
group." He whose flute is singing.
JIva GosvAmI
(Text 22) And then the very eager [gopIs] climb up into the
watchtowers and describe what they see in the two verses
beginning [vatsala].
(Text 23) By the word [devakI] in this instance Sri YasodA is

being praised with great respect, because she is the Queen of
Vraja, the idea being that Sri Nanda is the ruling deity
([devaka]), and she is his wife (the [devakI]). (They speak like
this) because they are trying to console her, and because they
identify themselves in a relation with her as their own mother.
If this word were referring to some other mother (of KRSNa), we
would have a contradiction, and if this verse were supposed to be
spoken in some other company (than that of YasodA), the parties
involved would be disinterested (they wouldn't have the attitude
of YasodA that is being addressed here).
But then my son, who is so eager to enjoy His playing, is still

delaying, even though the nightfall is almost completed. Since
He has still not returned, I am going to die. In reply to this
the [gopIs] try to console her by presenting some reason that He
will very quickly arrive, in the verse beginning [vatsala].
Remembering how the [vraja-gAvaH,] the bulls and the calves who
had to remain in Vraja, are suffering distress from His
separation, He will quickly come back, even at the risk of
neglecting the Gandharvas and other demigods. Here the lack of
the suffix [T`aj] is poetic license of the sages. And no one
should say, the [gopIs] state, that for Him, who is a tender of
cows, the curiosity of the singing of such extremely
insignificant singers as these Gandharvas and others attracts His
mind more than the natural curiosity for Him involved in seeing
the cows, touching them, scratching their limbs, giving them
grass to eat and so forth. This is because ([yat = yasmAt]) He
is [aga-dhra;] for the protection of which cows He held up the
mountain Govardhana. Therefore He has a natural, great affection
for them.
The implication is that for the Gandharvas and other demigods

He has not even a trace of affection, even on the relative level
of the material modes. But if this were the case, then by this
time He would have returned home. In reply to that objection the
[gopIs] present yet another reason for His delay. He whose two
feet are being honored in different places along the path by the
[vRddhas]-- BrahmA, Rudra and others. Attracted by the song of
His flute, they came each from their own abodes, and standing
nearby in the sky, they watched KRSNa throughout the whole day.
Thus becoming ecstatic, now, when it is time for KRSNa to return
to the cowherd village and they are preparing to return to their
individual abodes, they descend from the sky onto the surface of
the earth, and each of them-- BrahmA, Rudra, Indra and the
others-- worship the feet of your son in order to pray for His
favor. By this the [gopIs] subtly implied, "What can we do? His
extended delay is the result of His showing favor to them. Why
don't you see your own great fortune, that the feet of your son
are being honored even by BrahmA and the other demigods." "So
there," the further subtle implication is, "why are you
distressed?"
Then, my dear young girls of Vraja, you should quickly climb up

into the watchtowers and see from how far away my son is coming.
When the [gopIs] were thus addressed by her in a tearful choking
voice, the tallest of the beautiful girls quickly climbed up
(into the watchtower) and spoke the words beginning [kRtsna].
The proper sequence of the words is as follows: This KRSNa,
wanting to fulfill the desire ([A`siSaH = mano-rathasya]) of His
own friends ([suhRdAm = sva-bandhUnAm]), is coming. [Upohya]
means "bringing together into one group." He whose flute has a
song. By that beautiful appearance ([ruk = sobhA]) caused by
His fatigue, He is raising, causing abundantly ([unnayan =
uccaiH prApayan]) a festival of ecstasy ([utsavam = A`nandam])
for the eyes of the entire world ([dRsInAm = loka-netrANAm]),
His garland being filled ([churita = vyApta]) with the dust of
the hooves (of the cows).
There is also stated here, in a way that will not be noticed by

Sri YasodA and others, that (He is approaching) with loving
sidelong glances addressed toward His intimate girl friends.
Because it is specifically mentioned that there is dust from the
hooves of the animals on His garland, we deduce that there is no
dust elsewhere (upon Him). And this is because His friends
repeatedly wiped off the dust with their own [chAdars]. But
because the dust had entered deep within the garland, if they had
tried to wipe it off there the petals of the flowers would have
become broken. He does not discard this garland even though it
has become dirtied, and neither does he put on a new garland
which a servant is holding ready in the fold of his cloth; this
indicates that KRSNa wants very much to exhibit this favorite
garland being worn upon His own neck because it was fashioned by
His beloved with Her own hands and given to Him through one of
Her companions. He who exists within the ocean of milk of the
womb of Mother YasodA ([devakI = srI-yasodA]). This is
established by statements of the PurANic literature cited
(by S rIla RUpa GosvAmI) in [Sri Sri RAdhA-kRSNa-gaNoddesa-
dIpikA]. The word [uDu-rAja] means "moon."
TEXTS 24-25
mada-vighUrNita-locana I`Sat
mAna-daH sva-suhRdAM vana-mAlI
badara-pANDu-vadano mRdu-gaNDaM
maNDayan kanaka-kuNDala-lakSmyA
yadu-patir dvirada-rAja-vihAro
yAmanI-patir ivaiSa dinAnte
mudita-vaktra upayAti durantaM
mocayan vraja-gavAM dina-tApam
mada-- by intoxication; vighUrNita-- rolling; locanaH-- His

eyes; I`Sat-- slightly; mAna-daH-- showing honor; sva-suhRdAm--
to His own well-wishing friends; vana-mAlI-- wearing a flower
garland; badara-- like a [badara] fruit; pANDu-- whitish;
vadanaH-- His face; mRdu-- soft; gaNDam-- His cheeks; maNDayan--
ornamenting; kanaka-- golden; kuNDala--- of His earrings;
lakSmyA-- with the beauty; yadu-patiH-- the Lord of the Yadu
dynasty; dvirada-rAja-- like a king of elephants; vihAraH-- His
sporting; yAmanI-patiH-- the lord of night (the moon); iva--
like; eSaH-- He; dina-ante-- at the end of the day; mudita--
joyful; vaktraH-- His face; upayAti-- He is coming; durantam--
insurmountable; mocayan-- driving away; vraja-- of Vraja; gavAm--
of the cows, or else of those who are to be shown mercy; dina--
of the daytime; tApam-- the painful heat.
TRANSLATION
KRSNa's eyes are rolling slightly as if from intoxication, and

He is showing respect to all His well-wishing friends. He is
wearing a flower garland, and the whiteness of His face, colored
like a [badara] berry, together with the brilliance of His golden
earrings, accentuates the beauty of His soft cheeks. This Lord
of the Yadus is moving with the grace of a lordly elephant.
Appearing just like the moon, the master of night, with His
cheerful face, He is approaching at the end of the day,
delivering all the pitiable souls of Vraja from the burning
distress caused by the day's sunlight.
Sridhara SvAmI
(Text 24) Some of the [gopIs] very excitedly describe Him

approaching near: He whose eyes are agitated ([vighUrNite =
vihvale]) by slight intoxication, and who is [badara-pANDu-
vadana,] meaning that His face is whitish like a somewhat ripened
[badara] berry. The reason for this they state, that with the
effulgence ([lakSmyA = kAntyA]) of His gold earrings He is
ornamenting His face, which has tender ([mRdU = komalau]) cheeks.
Or else, He is beautifying His tender cheeks.
(Text 25) "Master of the Yadus" and "born from the womb of
DevakI" are as told by the well-known statements of Garga Muni,
or else, some of the [gopIs] are aware of these facts and are
stating them here, as they before did in the words [sakha
udeyivAn sAtvatAM kule]. With the motion of an elephant and
having a cheerful face just like the moon, He is coming ([upayAti
= A`yAti]), dispelling the unlimited heat of the daytime of the
[gos] of Vraja, namely us.
MadhvAcArya
MAnava, Badara and Sindhu are three names of the moon. One who
knows these names become free from material desire. Indeed, one
who knows the names (which are originally names) of Lord ViSNu
becomes free from the whole cycle of material existence.
The [gopIs] say, "Please hear the reason why even now, as he
reaches the outskirts of the city, He is a little delayed," in
this verse. Out of intoxication, the ecstasy due to seeing His
parents and others, and also out of the intoxication of desire
due to seeing His beloved [gopIs,] He whose eyes are agitated
([vighUrNite = vihvale]). The first idea is conceived of by
those of His associates present there who are in the mood of
parental affection, and the second by those who are in the mood
of conjugal love; this we will understand from what is described
later on.
To His own well wishers-- such as His priests, maternal

grandparents, brothers, servants, betel-nut bearers and so
forth, who are giving Him benedictions and so forth, each
fittingly according to his position-- He is showing only slight
respect, since He is a prince, since He is only a young boy, and
since He has not yet learned the [nIti-sAstras]. He who is showing
just a little respect, in the appropriate manner by nodding His
head, etc. This, the [gopIs] imply, is the reason why He is
delayed.
As an alternate explanation, [sva-suhRdAm] means of His beloved

girlfriends, who have climbed up into the watchtowers and are
engaged in worshiping Him with the blue lotuses of their smiling
sidelong glances. He who is showing slight honor, in a manner
invisible to others, with sidelong glances hinting at the
fulfillment of their desires. He whose face is whitish like a
partially ripened [badara] fruit, because of His fatigue from
wandering about the forest. Alternately this can be understood
as the [anubhAva] symptom of His feeling of separation from His
beloveds. The whiteness of His face is ornamenting His soft
cheeks with the effulgence of His trembling golden earrings.
The term [yadu-pati] is used because, as it has been established

already, the cowherds are YAdavas. [Dvirada-rAja-vihAra] means "He
whose motion is slow like that of a lordly elephant," [mudita-vaktra]
means "whose face is blossoming," and [upayAti] means "He comes
near." [Vraja-gavAm] means of the eyes of all persons present in
Vraja.
TEXT 26
srI-suka uvAca
evaM vraja-striyo rAjan
kRSNa-lIlAnugAyatIH
remire 'haHsu tac-cittAH
tan-manaskA mahodayAH
srI-sukaH uvAca-- Sukadeva GosvAmI said; evam-- thus;

vraja-striyaH-- the women of Vraja; rAjan-- O King; kRSNa-lIlA--
the pastimes of KRSNa; anugAyatIH-- chanting about; remire-- they
enjoyed; ahaHsu-- during the days; tat-cittAH-- their hearts
absorbed in Him; tat-manaskAH-- their minds absorbed in Him;
mahA-- great; udayAH-- experiencing a festivity.
TRANSLATION
Sukadeva GosvAmI said: Thus chanting about the pastimes of

Lord KRSNa, the women of Vraja took pleasure during the daytime.
Because there hearts and minds were fully absorbed in Him, they
were always experiencing the greatest happiness.
Sridhara SvAmI
In this way, namely, even with the pain of separation, just see
([nu = aho]), how while singing about the pastimes of KRSNa their
consciousness became absorbed in Him; that is to say, their very
lives became absorbed in Him. And their minds, which fix
themselves upon desires, became absorbed in Him. Therefore they
experienced a great festivity ([udaya = utsava]), and took
pleasure during the days.
JIva GosvAmI
[Remire] means that they became for the most part joyful, and
the reason for this is stated by the words beginning
[tac-cittAH]. This is because their very nature is imbued with
the highest ecstasy.
[Nu] means "my dear King," and the form [gAyatIH] is equivalent
to [gAyantyaH]. They whose minds were absorbed in Him, Sri
KRSNa. And He, Sri KRSNa, whose mind was absorbed in them.
Therefore-- since KRSNa and His dear [gopIs] share mutually both
roles of being the object and the subject of love, since their
minds are mutually engrossed, and since they enjoyed together
constantly without cessation-- the word "they enjoyed" indicates
that, even though pure love of God in separation appears to us to
be an experience of misery on the part of those who are immersed
in it, if we examine more discriminatingly we will see that they
are actually fully joyful. Thus pure love of God is the crown
jewel of all goals of human endeavor.
_days.
JIva GosvAmI
[Remire] means that they became for the most part joyful, and

Chapter 35

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Chapter 35

Uploaded by

Copyright:

Available Formats

CHAPTER 35

As the [gopIs'] mood of separation becomes evermore intense,

"Just see, when KRSNa, although He is the Supreme Personality

"When KRSNa is returning to Vraja, playing His flute

Experiencing their separation from KRSNa, the [gopIs] thus

srI-sukaH uvAca-- Sri Sukadeva GosvAmI said; gopyaH-- the

In the thirty-fifth chapter, the women of Gokula, after KRSNa has

In the thirty-fifth chapter, in twelve pairs of [slokas,] is

vyoma-yAna-vanitAH saha siddhair

gopyaH U`cuH-- the [gopIs] said; vAma-- left; bAhu-- on His

The twelve pairs of verses beginning [vAma-bahu-kRta-vAma-

(Text 3) Then the wives of the Siddhas, traveling in the sky,

(Text 2) This chapter consists of statements collected from

(Text 3) The use of the word "tender" is to express affection.

Grazing the cows in the VRndAvana forest, and consoling the

And thus, together with the Siddhas, they attained [kasmalam,]

The subtle implication is "If the demigoddesses and even the

hanta citram abalAH sRNutedaM

vRndaso vraja-vRSA mRga-gAvo

hanta-- ah; citram-- wonder; abalAH-- O girls; sRNuta-- hear;

(Text 4) O ([hanta = he]) girls, just hear this amazing thing.

When? When His flute is vibrated. Simply by hearing the

More specifically, the word [likhita] is used to express the

tarhi bhagna-gatayaH sarito vai

barhiNa-- of peacocks; stabaka-- with the tail feathers;

When Mukunda, dressed in the style of a wrestler with peacock

(Text 6) Furthermore, there is even a more wonderful

(Text 7) Then ([tarhi = tadA]), upon hearing that vibration,

And then, when he had entered the forest, decorated Himself

It is to be understood that in order to fortify Sri KRSNa's

(Text 7) Because they are seen to have their movements

What to speak of conscious beings such as the bulls and deer,

Together with Lord Baladeva, that Lord Mukunda was accompanied

The hidden implication is that their worldly progress was

vana-latAs tarava A`tmani viSNuM

anucaraiH-- by His companions; samanuvarNita-- being

When the bees, maddened by the honey-like aroma of the divinely

(Text 8) A most amazing condition is seen even among the

(Text 9) Then the creepers of the forest-- whose branches

(Text 10) Furthermore, in the lakes within the forest of lotus

And then, seeing a piece of land by the mountain where there

(Text 9) Indeed all of the creepers in the forest. "ViSNu,"

We should understand that the swarms of bees had to take turns

(Text 11) On the part of (these birds) the word [harim]

(Texts 8-9) What to speak of the rivers, who although being

Just like the original Personality of Godhead, NArAyaNa, since

(Texts 10-11) Having described the VaiSNava status of the trees

[DarsanIya] means worthy of being seen; He whose [tilaka] of

But, it may be questioned, it is such flowers as the lotus,

The word [abhISTam] indicates that when He was about to begin

saha-balaH-- together with BalarAma; srak-- a flower garland;

O goddesses of Vraja, when KRSNa, together with BalarAma, is

(Text 13) At that time the cloud is apprehensive in its mind

(Text 12) And then, at the middle of the day, appearing

(Text 13) Fearing in his mind a transgression against the

Having described the ecstasy of those on the face of the earth,

Here we can understand that KRSNa is a cloud standing on the

savanasas tad upadhArya suresAH

vividha-- various; gopa-- of cowherds; caraNeSu-- in the

Pious mother YasodA, your son is very expert in all cowherding

"And there is also this great cause of wonderment," as the

(Text 15) Those ([tat = tAH]) sequences of tones; [savanasaH]

This private assemblage of [gopIs] having gathered in the