Kṛṣṇa Steals the Garments of the Unmarried Gopīs

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TRANSLATION

Śukadeva Gosvāmī said: Thus the Vṛndāvana forest was filled with transparent autumnal waters and cooled by breezes perfumed with the fragrance of lotus flowers growing in the clear lakes. The infallible Lord, accompanied by His cows and cowherd boyfriends, entered that Vṛndāvana forest.

COMMENTARY

This chapter describes how the gopīs, being pained by Kṛṣṇa’s flute song, repeatedly sing the glories of that flute. They also praised the animals, demigoddesses and the forest of Vṛndāvana. Although staying in the village, the gopīs relate what they see through the transcendental eyes of their hearts, namely the various charming pastimes Kṛṣṇa enacts upon entering the forest of Vṛndāvana. After describing the beauty of the autumn season, Śukadeva Gosvāmī first describes Kṛṣṇa’s entrance into the Vṛndāvana forest, which is decorated with the sweetness of autumn, before portraying the pastimes of Kṛṣṇa’s flute song which is intimately related to it.

The wind became fragrant and cool (padmākara sugandhinā) by passing over the lotus filled lakes. Kṛṣṇa, along with His cows and cowherd boys, entered the forest permeated (vātaṁ) by this sweetly scented breeze. The word vāyunā (wind) is singular instead of plural to indicate a very gentle breeze. The word madhu-pati of the next verse is the subject of this verse if the alternate reading of this verse substitutes the word vanam for acyutah.

|| 10.21.2 ||

kusumita-vanarāji-śuṣmi-bhṛṅga dvija-kula-ghuṣṭa-saraḥ-sarin-mahīdhram

madhupatir avagāhya cārayan gāḥ saha-paśu-pāla-balaś cukūja veṇum

TRANSLATION

The lakes, rivers and hills of Vṛndāvana resounded with the sounds of maddened bees and flocks of birds moving about the flowering trees. In the company of the cowherd boys and Balarāma, Madhupati [Śrī Kṛṣṇa] entered that forest, and while herding the cows He began to vibrate His flute.

COMMENTARY

As Kṛṣṇa (madhupati) entered (avagāhya) the forest with its mountains, lakes, rivers and flowering groves, He skillfully blended His flute song (cukūja veṇum) with the lovely sounds of Vṛndāvana’s chirping birds and buzzing bees. The word madhu-pati means the Lord of spring (the month of Madhu). The inference is that when Kṛṣṇa, the personification of spring, entered the forests in the autumn, the forests became beautiful with spring flowers.

Kṛṣṇa went along with Balarāma and the cowherd boys (sa paśu pāla bala) to herd the cows (gocarane), but it is not mentioned here that they played flutes. Only Kṛṣṇa played the flute. Therefore, the veṇu-gīta (song of the flute and title of this chapter) came from Kṛṣṇa’s flute only.

|| 10.21.3 ||

tad vraja-striya āśrutya veṇu-gītaṁ smarodayam

kāścit parokṣaṁ kṛṣṇasya sva-sakhībhyo ’nvavarṇayan

TRANSLATION

When the young ladies in the cowherd village of Vraja heard the song of Kṛṣṇa’s flute, which arouses the influence of Cupid, some of them privately began describing Kṛṣṇa’s qualities to their intimate friends.

COMMENTARY

Hearing Kṛṣṇa’s flute song, the gopīs began describing indirectly (parokṣaṁ) to their friends about Kṛṣṇa entering the forest. The word parokṣa (indirectly) is used because the gopīs were located far away from Kṛṣṇa in the village of Vraja.

|| 10.21.4 ||

tad varṇayitum ārabdhāḥ smarantyaḥ kṛṣṇa-ceṣṭitam

nāśakan smara-vegena vikṣipta-manaso nṛpa

TRANSLATION

The cowherd girls began to speak about Kṛṣṇa, but when they remembered His activities, O King, the power of Cupid disturbed their minds, and thus they could not speak.

COMMENTARY

When the gopīs attempted to describe the song of the flute, they could not do so because their hearts became overcome with strong desires for Kṛṣṇa.

|| 10.21.5 ||

barhāpīḍaṁ naṭa-vara-vapuḥ karṇayoḥ karṇikāraṁ

bibhrad vāsaḥ kanaka-kapiśaṁ vaijayantīṁ ca mālām

randhrān veṇor adhara-sudhayāpūrayan gopa-vṛndair

vṛndāraṇyaṁ sva-pada-ramaṇaṁ prāviśad gīta-kīrtiḥ

TRANSLATION

Wearing a peacock-feather ornament upon His head, blue karṇikāra flowers on His ears, a yellow garment as brilliant as gold, and the Vaijayantī garland, Lord Kṛṣṇa exhibited His transcendental form as the greatest of dancers as He entered the forest of Vṛndāvana, beautifying it with the marks of His footprints. He filled the holes of His flute with the nectar of His lips, and the cowherd boys sang His glories.

|| 10.21.6 ||

iti veṇu-ravaṁ rājan sarva-bhūta-manoharam

śrutvā vraja-striyaḥ sarvā varṇayantyo ’bhirebhire

TRANSLATION

O King, when the young ladies in Vraja heard the sound of Kṛṣṇa’s flute, which captivates the minds of all living beings, they all embraced one another and began describing it.

COMMENTARY

Seeing that the gopīs could not speak, Śrī Śukadeva Gosvāmī, being omniscient, began the description of Kṛṣṇa’s pastimes according to the mood of their intense love. Kṛṣṇa was bedecked with a peacock feather (barhāpīḍaṁ), and a karṇikāra flower on His ears. Karṇikāra (flower) is singular whereas karṇayoḥ (ears) is in the dual form, to indicate that sometimes Kṛṣṇa wore one karṇikāra flower on the left ear and sometimes on the right ear to express the intoxication of His youth. He wore a vaijayantī garland made of flowers of five different colors. Thus Kṛṣṇa’s beautiful body looked like the best of dancers (naṭa-vara-vapuḥ). The use of the word bibhrat (wore) indicates that Kṛṣṇa purposefully dressed in an artful way to display His youthful charms in order to incite the romantic desires of the gopīs.

Since the gopīs might have criticized the flute for having holes in it, Kṛṣṇa filled the holes with the nectar of His lips. Though the flute is non-living, the touch of the nectar of Kṛṣṇa’s lips brought it to life, and empowered it to madden the three worlds. Then, considering the flute to be dull, lifeless and unqualified for such work, the vibration exudes from its holes and enters the ears and minds of the Vraja-gopīs. The implication is that the flute vibration makes itself successful in accomplishing its purpose of fully exhibiting its powers by conquering the Vraja-gopīs with Cupid.

|| 10.21.7 ||

śrī-gopya ūcuḥ

akṣaṇvatāṁ phalam idaṁ na paraṁ vidāmaḥ

sakhyaḥ paśūn anuviveśayator vayasyaiḥ

vaktraṁ vrajeśa-sutayor anaveṇu-juṣṭaṁ

yair vā nipītam anurakta-kaṭākṣa-mokṣam

TRANSLATION

The cowherd girls said: O friends, those eyes that see the beautiful faces of the sons of Mahārāja Nanda are certainly fortunate. As these two sons enter the forest, surrounded by Their friends, driving the cows before Them, They hold Their flutes to Their mouths and glance lovingly upon the residents of Vṛndāvana. For those who have eyes, we think there is no greater object of vision.

COMMENTARY

My [Viśvanātha Cakravartī Ṭhākura] only goal in life is the Vraja-gopīs, who, being attracted by the nectar shower from Krsna’s flute, ran out of their houses, and whose sweet words repeated here enable us to relish that nectar too.

“The gopīs meant to say, ‘O friends, if you simply remain in the shackles of family life in this material world, what will you ever get to see? The creator has granted us these eyes, so let us see the most wonderful thing there is to see, Krsna.’”

The gopīs were aware that their mothers-in-law or sisters-in-law might hear their romantic words and disapprove, so to hide their true feelings they said, akṣaṇvatāṁ phalam: “To see Krsna is the goal for all persons and not simply ourselves.” That is the superficial meaning, but the hidden implication is, “Those faces give bliss to everyone in Vṛndāvana forest, even the birds and beasts—but not to us, staying in our houses far away.”

In the Śrīmad Bhāgavatam (10.5.27) Vasudeva said, “O Nanda, my son (mama sutaḥ) Balarāma thinks of you as if you were His father (tātaṁ bhavantaṁ manvāno).” Also Śukadeva said, “Balarāma offered respects to His parents Nanda and Yaśodā and they blessed Him.” (SB 10.65.2) By such statements therefore Balarāma was commonly known as Nanda’s son. Therefore in this verse the gopīs describe Balarāma the son of Nanda Mahārāja (vrajeśa-sutayor).

However, there is a hidden meaning in the phrase vaktraṁ vrajeśa-sutayor, “faces of the sons of the king of Vraja, Nanda Mahārāja.” The word vaktraṁ (face) can mean that face among the two of them, which was turning back (anu:anaveṇu), playing the flute. The word vā with nipītam (to drink with intensity) also indicates seeing, touching, hearing, smelling or (va) tasting that face. If the alternate reading vai is used instead of va, it means certainly they taste.

In other words, the gopīs are saying, “Those who give up all shyness and steadiness to drink the nectar of that face playing the flute, among the two sons herding cows in the forest along with their friends, have fortunate senses and not others. Therefore we intend to say, today let us abandon all family tradition, shyness and self-control.”

Another gopī said, “Yes! Let us see, touch, hear and smell Krsna, but how is it possible since we are so shy?”

One gopī replied, “That face releases sidelong glances (kaṭākṣa-mokṣam) upon anyone who becomes lovingly attracted (anurakta) to Him. Krsna will search you out, and release the arrow of His enchanting glance. When it strikes, you will become agitated with love, forget all your shyness and abandon your self-control. Then you will look without shyness on that face.”

|| 10.21.8 ||

cūta-pravāla-barha-stabakotpalābja

mālānupṛkta-paridhāna-vicitra-veśau

madhye virejatur alaṁ paśu-pāla-goṣṭhyāṁ
raṅge yathā naṭa-varau kvaca gāyamānau

TRANSLATION

Dressed in a charming variety of garments, upon which Their garlands rest, and decorating Themselves with peacock feathers, lotuses, lilies, newly grown mango sprouts and clusters of flower buds, Kṛṣṇa and Balarāma shine forth magnificently among the assembly of cowherd boys. They look just like the best of dancers appearing on a dramatic stage, and sometimes They sing.

COMMENTARY

One gopī said, “But how will we deal with this disgrace? We should not go.” A second gopī replied, “No, we should go anyway.”

The first gopī said, “Because Kṛṣṇa is with Baladeva, our motive in going will not be fulfilled.”

The second gopī replied, “Therefore while remaining concealed, we can peer through the leaves of the creepers, and taste the nectar of Kṛṣṇa’s beauty, hear His singing and see His dancing. Then we can quickly return home.” That is the intention of this verse.

Decorating Themselves with tender mango leaf sprouts (cuta-pravāla), peacock feathers (barha) and bunches of flowers (stabaka) in Their hair, lotus buds over Their ears, a play lotus in the right hand, a garland around the neck, and wearing sewn garments colored red, yellow and black like those of an actor, Kṛṣṇa and Balarāma looked like the best of dancers arrayed in colorful dress.

Kṛṣṇa and Balarāma danced along with the boys and sometimes sang (gāya mānau). Gāyamānau can also mean that Kṛṣṇa and Balarāma were satisfied (māna) with the singing (gāya) of others who were praising Them. Or it can mean that Kṛṣṇa and Balarāma were proud of Their own singing: “No one in the three worlds can sing like Us. Who are you insignificant cowherd boys?”

|| 10.21.9 ||

gopyaḥ kim ācarad ayaṁ kuśalaṁ sma veṇur

dāmodarādhara-sudhām api gopīkānām

bhuṅkte svayaṁ yad avaśiṣṭa-rāsaṁ hradinyo

hṛṣyat-tvaco ’śru mumucus taravo yathāryaḥ

TRANSLATION

My dear gopīs, what auspicious activities must the flute have performed to enjoy the nectar of Kṛṣṇa’s lips independently and leave only a taste for us gopīs, for whom that nectar is actually meant! The forefathers of the flute, the bamboo trees, shed tears of pleasure. His mother, the river on whose bank the bamboo was born, feels jubilation, and therefore her blooming lotus flowers are standing like hair on her body.

COMMENTARY

The gopīs said, “This flute has created a problem for us, drowning us in an ocean of disgrace.” That is expressed in this verse.

Though the words vaṁśī and muralī are in feminine gender, the word veṇu is masculine, like the word dāra, a masculine word meaning wife.

“What auspicious activities (kuśalaṁ) did the veṇu (flute) perform to become Kṛṣṇa’s wife? It did not do anything auspicious because it took birth as a nonmoving creature, a low birth resulting from a lack of piety. Yet that flute drinks the nectar of Dāmodara’s lips (dāmodarādhara). Can we tolerate that? No, because it is the gopīs’ right to taste that nectar (gopīkānām). After all, Kṛṣṇa was born as a gopa and we were born as gopīs. Therefore we have the right to taste those lips, not the flute.”

“Furthermore the flute has the audacity to manifest as male (venu) in form and still enjoy (bhuṅkte) Kṛṣṇa. Moreover this enjoyment is done without marriage, utterly alone and by thievery. The flute then brazenly announces the fact to the real owners of the treasure, namely us, by blowing air. It is not just the ordinary sound of blowing air; it is the cries of the bliss the flute experiences in association with Kṛṣṇa. And we are forced to hear that sound! The flute is enjoying so much that it leaves nothing left, not even a morsel. Though we are the rightful claimants of the nectar of Kṛṣṇa’s lips, that flute leaves nothing for us, not even his own remnants. Such is his audacity!”

“Others who are devoid of piety also act in the same way. Seeing the flute enjoying the nectar of Kṛṣṇa’s lips, the river becomes happy, blooming with lotuses, standing like hair on her body. The trees pouring out their honey seem to be weeping in bliss. Upon hearing Kṛṣṇa’s glories, the devotees shed tears of joy and experience horripilation. Similarly, upon hearing Kṛṣṇa’s flute song the rivers and trees are also displaying symptoms of bhāva.”

“The rivers are female friends of the flute and the trees are male friends or messengers. Thus the flute, rivers and trees are all our enemies. Therefore where can we hide the flute, so that it does not get the nectar of Kṛṣṇa’s lips?” Here the gopīs manifest the sañcārī-bhāva of envy, which has arisen from their intense love for Kṛṣṇa.

|| 10.21.10 ||

vṛndāvanaṁ sakhī bhuvo vitanoti kīṛtiṁ

yad devakī-suta-padāmbuja-labdha-lakṣmi

govinda-veṇum anu matta-mayūra-nṛtyaṁ
prekṣyādri-sānv-avaratānya-samasta-sattvam

TRANSLATION

O friend, Vṛndāvana is spreading the glory of the earth, having obtained the treasure of the lotus feet of Kṛṣṇa, the son of Devakī. The peacocks dance madly when they hear Govinda’s flute, and when other creatures see them from the hilltops, they all become stunned.

COMMENTARY

“The forest of Vṛndāvana has now become even sweeter because it is the place of Kṛṣṇa’s pastimes. Therefore let us go there to see that place. There is no fault in doing that.” With this in mind one gopī spoke.

“Vṛndāvana is spreading (vi-tanoti means viśeṣa bhavena tanoti) the glories of the earth especially, as being better than Svarga, because (yat) the earth is marked with the symbols of the flag and thunderbolt from the lotus feet of Devakīnandana (the son of Yaśodā).”

The name Devakī also refers to mother Yaśodā, as stated in the Bṛhad-viṣṇu Purāna:

dve nāmnī nanda-bhāryāyā yaśodā devakīti ca

ataḥ sakhyam abhūt tasya devakyā śauri-jāyayā

“The wife of Nanda Mahārāja had two names, Yaśodā and also Devakī. Therefore it was natural that she became friends with Vasudeva’s wife named Devakī.” Thus devakī-suta (the son of Devakī) in this verse refers to Yaśodānandana, Kṛṣṇa, the son of mother Yaśodā.

A gopī said, “It is not possible to find the symbols of Kṛṣṇa’s feet decorating the abode of Vaikuṇṭha. Nor is it possible to see to such a beautiful cow pasturing area there. In Vṛndāvana, the peacocks ask Kṛṣṇa, ‘Govinda, please make us dance.’ Thus Kṛṣṇa plays His flute, and they surround Him in a circle and dance madly in time with the rhythm of His melody. And while standing in the midst of their dancing, Kṛṣṇa also sings and dances. Then those peacocks, who are fully satisfied with His flute recital, out of gratitude offer for His pleasure, their own divine feathers. In the usual manner of musicians, Kṛṣṇa gladly accepts their offerings and places a peacock feather upon His turban. Gentle animals such as deer and doves greatly relish Kṛṣṇa’s transcendental performance, and to get a good view they flock to the peaks of hills. Then, as they watch the breathtaking program, they become stunned (avaratānya) in ecstasy.”

Another gopī said, “Oh sakhīs! We intensely desire to relish Kṛṣṇa’s dancing, singing and flute playing, and to see all those beasts, deer, doves and birds assembled on the hill slopes, who have become stunned in bliss.”

|| 10.21.11 ||

dhanyāḥ sma mūḍha-gatayo ’pi hariṇya etā

yā nanda-nandanam upātta-vicitra-veśam

ākarṇya veṇu-raṇitaṁ saha-kṛṣṇa-sārāḥ

pūjāṁ dadhur viracitāṁ praṇayāvalokaiḥ

TRANSLATION

Blessed are all these foolish deer because they have approached Mahārāja Nanda’s son, who is gorgeously dressed and is playing on His flute. Indeed, both the doe and the bucks worship the Lord with looks of love and affection.

COMMENTARY

A gopī said, “Alas, though we are more intelligent than the deer, our life has become useless since we cannot meet Kṛṣṇa. The less intelligent creatures have made their lives successful by meeting Kṛṣṇa. How is that?” This sentiment is expressed in this verse.

Sma (certainly) is an exclamation of astonishment or lamentation. “Oh! (sma) We do not have such good fortune.” There are two readings: veṇu-raṇitam and veṇu-riphitam. The meaning is the same: sound of the flute.

The gopī said, “Hearing the sound of the flute, the does worship (pūjāṁ dadhuh) Kṛṣṇa with their affectionate glances. Then what can be said of the glances that we intelligent beings have given to Kṛṣṇa?”

The gopīs were thinking as follows: “The female deer can approach Kṛṣṇa along with their husbands because Kṛṣṇa is the ultimate object of affection for the male deer, [kṛṣṇa-sārāḥ means male deer, and also those who take Kṛṣṇa alone as the object of worship] Because of their affection for Kṛṣṇa, the bucks are encouraged by seeing their wives attracted to Him and thus consider their household lives fortunate. Indeed, they become joyful upon seeing how their wives are searching after Kṛṣṇa, and, following along, they urge their wives to run to the Lord. On the other hand, our husbands are jealous of Kṛṣṇa, and because of their lack of devotion to Him they cannot even stand to smell His fragrance. Therefore what is the use of our lives?”

|| 10.21.12 ||

kṛṣṇaṁ nirīkṣya vanitotsava-rūpa-śīlaṁ

śrutvā ca tat-kvaṇita-veṇu-vivikta-gītam

devyo vimāna-gatayaḥ smara-nunna-sārā

bhraśyat-prasūna-kabarā mumuhur vinīvyaḥ

TRANSLATION

Kṛṣṇa’s beauty and character create a festival for all women. Indeed, when the demigods’ wives flying in airplanes with their husbands catch sight of Him and hear His resonant flute-song, their hearts are shaken by Cupid, and they become so bewildered that the flowers fall out of their hair and their belts loosen.

COMMENTARY

One gopī said, “Since we are ordinary gopīs and Kṛṣṇa is a gopa from our village, our conjugal attraction for Him is natural. Though He is appearing among the human beings, even the demi-goddesses become mad after Kṛṣṇa. Then what is so astonishing that we poor, earthly women become completely conquered by Kṛṣṇa’s love laden glances and the nectar of His flute?”

“Seeing the exquisite form and sterling qualities of Kṛṣṇa (rūpa-śīlaṁ), the heavenly women become blissful (vanita utsava). Their hearts overcome with conjugal desire (smara-nunna-sārā). The flowers fall from their hair as it becomes undone and their belts loosen (vinīvya). Then they faint (mumuhuh) and fall from the laps of their husbands while flying in the sky in their airplanes (vimāna gatayaḥ).”

The bewildered celestial damsels depicted here are showing the symptoms of an ecstatic transformation (anubhāva) known as moṭṭāyita. When a heroine sees, remembers, or hears the words of her hero, Kṛṣṇa, lusty desires are aroused in her heart and she hankers for His association. This is the state of moṭṭāyita.

A gopī said, “The intelligent demigods, although noting the condition of their wives, do not become envious. Rather, thinking themselves most fortunate, they regularly take their wives along to see Kṛṣṇa in Vṛndāvana. But our husbands are envious. Thus the low born deer and the high born wives of the demigods are very fortunate. But we poor humans in an intermediate position are the most unfortunate.”

|| 10.21.13 ||

gāvaś ca kṛṣṇa-mukha-nirgata-veṇu-gīta

pīyūṣam uttabhita-karṇa-puṭaiḥ pibantyaḥ

śāvāḥ snuta-stana-payaḥ-kavalāḥ sma tasthur

govindam ātmani dṛśāśru-kalāḥ spṛśantyaḥ

TRANSLATION

Using their upraised ears as vessels, the cows are drinking the nectar of the flute-song flowing out of Kṛṣṇa’s mouth. The calves, their mouths full of milk from their mothers’ moist nipples, stand still as they take Govinda within themselves through their tear-filled eyes and embrace Him within their hearts.

COMMENTARY

A gopī said, “One cannot say that the bewilderment from Kṛṣṇa’s flute song is generated from the conjugal desire of ladies only (gopīs and devīs). Even dumb animals like cows and their calves are affected by the nectar of Kṛṣṇa’s flute. In fear of spilling the nectar, the cows have raised their ears like cups to hear the sweet sound of Kṛṣṇa’s flute. The cause of the cow’s bewilderment is not just their vātsalya-bhāva (parental love) towards Kṛṣṇa, because their calves, which are devoid of vātsalya-bhāva, are also bewildered.”

“The calves, having just drunk their mothers’ milk, perk up their ears to drink the nectar of Kṛṣṇa’s flute song as soon as they hear it. Then they stop sucking their mother’s nipples. The milk falls from their open mouths and they stand as if stunned. The cows stand still as they take Govinda within their hearts through their tear-filled eyes and embrace Him out of vātsalya-bhāva, motherly affection. In this way, all living entities have unalloyed pure love for Kṛṣṇa, and are fortunate because they can meet Kṛṣṇa. Only we are unfortunate because of separation from Him.”

|| 10.21.14 ||

prāyo batāmba vihagā munayo vane ’smin
kṛṣṇekṣitaṁ tad-uditaṁ kala-veṇu-gītam

āruhya ye druma-bhujān rucira-pravālān

śṛṇvanti mīlita-dṛśo vigatānya-vācaḥ

TRANSLATION

O mother, in this forest all the birds have risen onto the beautiful branches of the trees to see Kṛṣṇa. With closed eyes they are simply listening in silence to the sweet vibrations of His flute, and they are not attracted by any other sound. Surely these birds are on the same level as great sages.

COMMENTARY

One gopī replied, “The calves, who are dumb animals in material consciousness, are only tasting material pleasures. On the other hand, the ātmā-rāma munis fixed in transcendental knowledge and renunciation cannot be disturbed by Kṛṣṇa.”

Another gopī said, “No, this is not true. Kṛṣṇa also attracts the munis with His sweetness. Oh, (bata) it is surprising, mother (amba)!” (Amba, mother, is an address to an intimate girlfriend used naturally by young ladies caught up in loving affection.)

“All these birds resemble munis because they live in the forest, keep their eyes closed, observe silence and remain motionless. Perched on the branches of the trees, they become ecstatic listening to the flute. Thus even great munis become maddened by Kṛṣṇa’s flute song, which is a completely spiritual vibration.”

“Not only that sakhī, even the branches of the trees are transformed in ecstasy when struck by the vibration of Kṛṣṇa’s flute-song, and begin to sprout new leaves (rucira-pravālān) out of ecstasy. The sweet vibrations of His flute (kala-veṇu-gītam), which agitates the whole universe, arises from Kṛṣṇa alone (tat-uditaṁ), not from Viṣṇu, Brahmā, Śiva or Indra. It is impossible for anyone else to produce such enchanting music. Indra, Brahmā, Śiva and Viṣṇu, being primordial gods, travel throughout the universe and have extensive knowledge of the science of music, and yet even these great personalities have never heard or composed music like that which emanates from Kṛṣṇa’s flute.”

“Indeed sakhī, the birds are so moved by the unique, blissful sound that in their ecstasy they close their eyes and cling to the branches to avoid falling off the trees. Due to being absorbed in the bliss of Kṛṣṇa, they have given up all other talk, even the talk of munis about brahmāṇanda.”

|| 10.21.15 ||

nadyas tadā tad upadhārya mukunda-gītam

āvarta-lakṣita-manobhava-bhagna-vegāḥ

āliṅgana-sthagitam ūrmi-bhujair murārer

gṛhṇanti pāda-yugalaṁ kamalopahārāḥ

TRANSLATION

When the rivers hear the flute-song of Kṛṣṇa, their minds begin to desire Him, and thus the flow of their currents is broken and their waters are agitated, moving around in whirlpools. Then with the arms of their waves the rivers embrace Murāri’s lotus feet and, holding on to them, present offerings of lotus flowers.

COMMENTARY

Kṛṣṇa is so enchanting that He bewilders each and every member of the female gender. Carrying this fact to its extreme, the gopīs speak this verse (rivers are female gender).

A gopī said, “All the rivers exhibit whirlpools, indicating that their courses have been interrupted by the disturbance of conjugal attraction for Kṛṣṇa. They stop flowing towards the ocean, their husband, because they have lost all shyness and self-control. As their excess water swells into waves, they embrace the lotus feet of Murari standing motionless on the river bank, and holding on to them present offerings of lotus flowers. Yet the ocean does not harbor any hatred towards those rivers because of their love for Kṛṣṇa, unlike our husbands. Just see how unfortunate we are.”

According to the Amara-kośa dictionary, the word kamala (lotus) can also mean water. Taking this meaning, the sentence can read, “They used their own water (kamala) to offer pādya (a foot bath) to Kṛṣṇa.” The word kamala can also mean wealth. “In order to please Kṛṣṇa, they offered all their wealth to Him.”

|| 10.21.16 ||

dṛṣṭvātape vraja-paśūn saha rāma-gopaiḥ

sañcārayantam anu veṇum udīrayantam

prema-pravṛddha uditaḥ kusumāvalībhiḥ

sakhyur vyadhāt sva-vapuṣāmbuda ātapatram

TRANSLATION

In the company of Balarāma and the cowherd boys, Lord Kṛṣṇa is continually vibrating His flute as He herds all the animals of Vraja, even under the full heat of the summer sun. Seeing this, the cloud in the sky has expanded himself out of love. He is rising high and constructing out of his own body, with its multitude of flower-like droplets of water, an umbrella for the sake of his friend.

COMMENTARY

The gopīs lament to themselves, “Alas, alas even those who are in the mood of friendship with Kṛṣṇa (sakhya-bhāva) have perfected their lives by serving Him. Out of prema for his friends Kṛṣṇa and Balarāma, the cloud expanded himself to shield Them from the intense heat of the sun. The cloud thinks of himself as Kṛṣṇa’s friend because they are so similar: they both remove distress by downpours of nectar (rasa); they are both dark blue in color; and both exhibit lightning and thunder (which in Kṛṣṇa’s case manifested as His yellow dhoti and flute playing). Identifying with the mood of friendship, the cloud made a light umbrella (ātapatram) with his body composed of a collection of water drops (kusuma-āvalībhiḥ) in order to shield his friend Kṛṣṇa. In this way the cloud gives pleasure to Kṛṣṇa, but we do not get an opportunity to please Him.” Therefore, the gopīs idea is, “To hell with us!”

|| 10.21.17 ||

pūrṇāḥ pulindya urugāya-padābja-rāga

śrī-kuṅkumena dayitā-stana-maṇḍitena

tad-darśana-smara-rujas tṛṇa-rūṣitena

limpantya ānana-kuceṣu jahus tad-ādhim

TRANSLATION

The aborigine women of the Vṛndāvana area become disturbed by lust when they see the grass marked with reddish kuṅkuma powder. Endowed with the color of Kṛṣṇa’s lotus feet, this powder originally decorated the breasts of His beloveds, and when the aborigine women smear it on their faces and breasts, they feel fully satisfied and give up all their anxiety.

COMMENTARY

Leaving aside the attraction of the flute, this verse speaks of the lotus feet of Vṛṣabhānunandinī Śrī Rādhā, which have the power, by even the slightest contact, to induce complete attraction for Kṛṣṇa, and to raise one to the seventh level of prema called madana in mahābhāva.

One gopī said, “The Pulinda women have reached perfection but we have not. Therefore, we want to know what kind of austerities they have performed.” This is the hint in the gopīs’ statement about the perfection (pūrṇa) of the Pulinda women.

The gopī continued, “Why are they perfect? They smear their faces and breasts with the kunkuma that has dyed the feet of Kṛṣṇa (urugāya padābja rāga). Where did that kunkuma come from? The kuṅkuma came from the breast of the gopī Kṛṣṇa was enjoying with, namely Rādhikā (dayitā stana maṇḍitena). Though we desire to praise Rādhikā’s good fortune of having such exalted attraction to Kṛṣṇa, out of shyness we do not specifically mention Her.”

“Though that is indeed the kuṅkuma of Rādhā, due to lust the Pulindas did not even show it proper respect. What did they do? Upon seeing the grass smeared with kuṅkuma, which had fallen from Kṛṣṇa’s feet after He had enjoyed with Rādhā, the Pulindas became lusty. I can’t imagine what would happen if they see Kṛṣṇa personally.”

“Upon seeing Kṛṣṇa from a distance, the Pulindas developed a great desire to smell the fragrance of Kṛṣṇa’s body, so they smeared the kuṅkuma from the grass on their faces. Then, with a desire to relish the enjoyment Kṛṣṇa engaged in, they smeared it on their breasts, thinking that they were being embraced by Kṛṣṇa. By this action the pain (ādhim) of their lust was pacified. Indeed that kuṅkuma has a special power in it! In all our births we have not received it even once.”

In Ujjvala Nīlamaṇi, Śrīla Rūpa Gosvāmī describes madana as follows: “The stage of madana is exalted as the topmost perfection, and it inspires the full-blown manifestation of all loving sentiments (bhāvas). All enjoyments of meeting directly with Kṛṣṇa and all pleasurable conjugal pastimes exist within madana. It is the very essence of the hlādinī-śakti always present in Śrīmati Rādhārāni.”

This definition should be applied to the present verse. Thus this verse indicates that the gopīs experienced enjoyment through pastimes with Kṛṣṇa. Therefore from verse six of this chapter, it should be understood that the gopīs were embraced by Kṛṣṇa, who suddenly appeared before them, and thus they began speaking in this chapter.

|| 10.21.18 ||

hantāyam adrir abalā hari-dāsa-varyo yad rāma-kṛṣṇa-caraṇa-sparaśa-pramodaḥ

mānaṁ tanoti saha-go-gaṇayos tayor yat pānīya-sūyavasa-kandara-kandamūlaiḥ

TRANSLATION

Of all the devotees, this Govardhana Hill is the best! O my friends, this hill supplies Kṛṣṇa and Balarāma, along with Their calves, cows and cowherd friends, with all kinds of necessities—water for drinking, very soft grass, caves, fruits, flowers and vegetables. In this way the hill offers respects to the Lord. Being touched by the lotus feet of Kṛṣṇa and Balarāma, Govardhana Hill appears very jubilant.

COMMENTARY

The gopīs talk among themselves, “Oh sakhīs! Without taking shelter of a great devotee our desires will never be fulfilled. We have heard from Gargi [daughter of Gargamuni] about the glories of Hari’s devotees, and that Govardhana Hill is the best amongst them. Therefore, let’s go there today, bathe in Mānasa Gaṅgā, and take darśana of Harideva, the presiding deity of that place. Certainly even our elders will not object to this. Moreover, Kṛṣṇa is playing on the slope of Govardhana.”

Deciding upon this plan, the gopīs glorify Govardhana Hill because it fulfills the desires of Kṛṣṇa, His companions, and hopefully will fulfill their desire to meet Kṛṣṇa as well.

There are three chief Haridāsa’s (devotees of Lord Hari) mentioned in the Śrītnad Bhāgavatam: Yudhiṣṭhira, Uddhava and Govardhana. First, Yudhiṣṭhira is described:

hari-dāsasya rājarṣe rājasūya-mahodayam

naivātṛpyan praśaṁsantaḥ piban martyo ’mṛtaṁ yathā

“As they all glorified the wonderful Rājasūya-yajña performed by that great saintly King and servant of Lord Hari [Yudhiṣṭhira], they were not satiated, just as an ordinary man is never satiated when drinking nectar.” (SB 10.75.27)

The second, Uddhava is described:

sarid-vana-giri-droṇīr vīkṣan kusumitān drumān

kṛṣṇaṁ saṁsmārayan reme hari-dāso vrajaukasām

“That servant of Lord Hari [Uddhava], seeing the rivers, forests, mountains, valleys and flowering trees of Vraja, enjoyed inspiring the inhabitants of Vṛndāvana by reminding them of Lord Kṛṣṇa. (SB 10.47.56) Of the three servants of Hari, the present verse states that Govardhana is the best, hari-dāsa-varyo.”

From the touch of Kṛṣṇa’s lotus feet the rocks of Govardhana become as soft as mud in order to preserve the unique marks on Kṛṣṇa’s feet such as the goad, flag and thunderbolt. Contacting Kṛṣṇa’s lotus feet causes Govardhana to display symptoms of ecstasy such as perspiration in the form of melting stones, hair standing on end as erect blades of grass, and tears of love as gushing waterfalls.

This verse describes the sweet opulences of Govardhana Hill. Pānīya refers to the fragrant, cool water gushing from Govardhana’s water-falls, which Kṛṣṇa and Balarāma drink and use to wash Their feet and mouths. Govardhana also offers tasty beverages, such as honey, mango juice and pīlu juice. Sūyavasa refers to dūrvā grass, used in making ritualistic hand wash, arghya. The word sūyavasa also refers to Govardhana’s soft and succulent grasses which nourish the cows and thereby increase milk production. Kṛṣṇa, Balarāma and the boys play, sit and lie down in Govardhana’s many caves (kandara), which give pleasure when the weather is too hot or cold, or when it rains. Govardhana also offers soft edible roots, jewels to decorate the body, flat rocks for sitting, and mirrors in the form of smooth stones.

Externally the phrase rāma-gopaīḥ means Balarāma. The gopīs use this phrase to hide their feelings for Kṛṣṇa. However, for the gopīs, rāma refers to Kṛṣṇa who is rāmanīyā, charming and attractive, and ramaṇam, the source of intimate enjoyment. By the touch of Kṛṣṇa’s feet such joy springs up in their hearts.

|| 10.21.19 ||

gā gopakair anu-vanaṁ nayator udāra

veṇu-svanaiḥ kala-padais tanu-bhṛtsu sakhyaḥ

aspandanaṁ gati-matāṁ pulakas taruṇāṁ

niryoga-pāśa-kṛta-lakṣaṇayor vicitram

TRANSLATION

My dear friends, as Kṛṣṇa and Balarāma pass through the forest with Their cowherd friends, leading Their cows, They carry ropes to bind the cows’ rear legs at the time of milking. When Lord Kṛṣṇa plays on His flute, the sweet music causes the moving living entities to become stunned and the nonmoving trees to tremble with ecstasy. These things are certainly very wonderful.

COMMENTARY

“Furthermore, we should not delay in going to meet this flute player. Since He is following the cows, He may soon wander off to a distant forest (anu-vanaṁ).” With this idea the gopīs speak this verse.

To indicate that the cowherd boys were in the mood of serving Kṛṣṇa, the syllable ka is added to the word gopakair (cowherd boys). Thus the word gopakair indicates that the boys were protecting (gopayanti) Kṛṣṇa with love. Another indication of the word is that every morning they went with Kṛṣṇa. Mother Yaśodā brought them together for this purpose. While Kṛṣṇa played the flute they wandered from forest to forest herding the cows. This produced a very wonderful scene. What was so wonderful? When the moving living entities (gati-matām) heard that flute sound, they became motionless (aspandanaṁ). The nonmoving trees adopted the qualities of humans and trembled in ecstasy.

Niryoga-pāśa is a type of noose used to restrain calves at milking time. That rope (niryoga-pāśa), which had clusters of flowers and pearls at both ends, signified Them as cowherd boys. Sometimes Kṛṣṇa and Balarāma would tie that rope on Their yellow silk turbans as stylish ornaments (kṛta-lakṣaṇayoḥ).

|| 10.21.20 ||

evaṁ-vidhā bhagavato yā vṛndāvana-cāriṇaḥ

varṇayantyo mitho gopyaḥ krīḍās tan-mayatāṁ yayuḥ

TRANSLATION

Thus narrating to one another the playful pastimes of the Supreme Personality of Godhead as He wandered about in the Vṛndāvana forest, the gopīs became fully absorbed in thoughts of Him.

COMMENTARY

Śukadeva Gosvāmī summarizes the chapter in this verse. The gopīs attained the platform of being filled with Kṛṣṇa (tan-mayatāṁ) by describing Kṛṣṇa’s flute playing, forest rambling and cow herding pastimes. The word mithaḥ (with one another) refers mithah rahasi, meeting one another in a secluded place. Thus, following after their boyfriend, the gopīs met their beloved Kṛṣṇa in a private place and actually engaged in different intimate pastimes with Kṛṣṇa. Then afterwards, the gopīs attained a state of tan-mayatāṁ, absorption in ecstatic meditation upon Kṛṣṇa’s pastimes and enchantment in transcendental ecstasy.

Because the gopīs say later in Bhāgavatam (10.29.36), “O lotus eyed one, from the time we touched Your feet with our hands, we could no longer live with our husbands,” it is reasonable to say on this day the gopīs enjoyed with Kṛṣṇa.

Thus ends the commentary on the Twenty-first Chapter of the Tenth Canto of the Bhāgavatam for the pleasure of the devotees, in accordance with the previous ācāryas.

Chapter Twenty-two

|| 10.22.1 ||

śrī-śuka uvāca

hemante prathame māsi nanda-vraja-kamārikāḥ

cerur haviṣyaṁ bhuñjānāḥ kātyāyany-arcana-vratam

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