Some of the gopīs, however, could not manage to get out of their houses, and instead they remained home with eyes closed, meditating upon Him in pure love.

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TRANSLATION

Śrī Bādarāyaṇi said: Śrī Kṛṣṇa is the Supreme Personality of Godhead, full in all opulences, yet upon seeing those autumn nights scented with blossoming jasmine flowers, He turned His mind toward loving affairs. To fulfill His purposes He employed His internal potency.

COMMENTARY

I offer my humble obeisances unto to my guru-parampara beginning with my dīkṣā-guru Śrī Rādhā-ramana [alias Śrī Rāma], my parama-gurudeva Śrī Kṛṣṇa-caraṇa, my parātpara-gurudeva Śrī Gaṅgā-nārāyaṇa, my parama-parātpara-gurudeva Śrīla Narottama Thākura, to Śrī Lokanātha Gosvāmī and Lord Śrī Gaurāṅga Mahāprabhu. Paying repeated respects to my dīkṣā-guru Śrī Rādhā-ramaṇa-deva, I offer respects to Lord Śrī Kṛṣṇa, the ocean of mercy. I take shelter of Śrī Śukadeva Gosvāmī, the eye of the universe and master of the worlds. I offer myself and everything I possess to Śrī Kṛṣṇa, the Lord of the gopīs’ hearts, in hopes of attaining the eternal service of His beloveds.

In the next five chapters (29-33) known as the rāsa-pañcādhyāya, which are like the five life airs, Śukadeva Gosvāmī describes Śrī Kṛṣṇa’s rāsa-līlā, the prize jewel within the treasury of all His pastimes. All glories to the rāsa dance! By the good fortune the Vraja-gopīs acquired for themselves by participating in the rāsa dance, they relished the topmost manifestation of all divine tastes even while present on this earth. This chapter describes how the thirsty cātakī birds of the gopīs’ ears became inundated with the harshly poisonous shower from the monsoon cloud of Kṛṣṇa’s flute. It also describes the arguments and counter-arguments of Kṛṣṇa and the gopīs, and Kṛṣṇa’s playful disappearance from the midst of the gopīs.

When Kṛṣṇa was seven years old, on the Amāvasyā [dark moon] day of Kārtika month, He preached Karma-mīmāṁsā philosophy to prevent the Indra yajna of Nanda Mahārāja and the cowherd men. On the first day of the waxing moon (pratipat) the Vrajavāsīs worshiped Govardhana Hill. On the second day of the waxing moon Kṛṣṇa honored a feast on the shore of the Yamunā on the occasion of Bhrātṛ-dvitīyā, a day when sisters honor their brothers. Though this pastime is not described by Śukadeva Gosvāmī, it is understood that it took place. Then Indra cursed the Vrajavāsīs, and Kṛṣṇa held up Govardhana Hill from Sukla Tritiya until Navamī (seven days). On Sukla Daśamī (tenth day) the cowherd men discussed the incident with great surprise.

On Kārtika Sukla Ekādaśī, the heavenly Surabhi cow performed an abhiseka of Kṛṣṇa. On the Dvādaśī day, Kṛṣṇa went to Varuṇa-loka to rescue His father Nanda Mahārāja. On Pūrṇimā the cowherd men had darśana of Brahmāloka (Kṛṣṇaloka) and the autumn season finished. With the next Janmāṣṭamī, Kṛṣṇa turned eight years old. On the full moon night (śārada-pūrṇimā) of the āśvina month Śrī Kṛṣṇa celebrated rāsa-līla. The first verse begins from this point.

Even though Kṛṣṇa is bhagavān, full in six varieties of opulences, He turned His mind toward enjoying because of the time, place and persons, which are three uddīpanās to excite to rāsa. The time was the full moon night of autumn (śārada-pūrṇimā), the place was the forest of Vṛndāvana, and the persons were the lovely damsels of Vraja. All three served to enflame the passion of enjoyment by their supreme capacity to attract Kṛṣṇa’s mind with their sweetness.

The attraction of the autumn night:

Kṛṣṇa became desirous of relishing with His own ears and other senses the variegated charms of the topmost experts among billions of women in the arts of amorous love. He wanted to enjoy with His own senses the sweet sounds of the gopīs’ voices, their beauty and fine fragrance, tenderness, cleverness and skill in dancing and playing music. Kṛṣṇa also wanted the gopīs to relish with their own ears and other senses the sweet sound of His voice.

Kṛṣṇa’s Yogamāyā potency, under the influence of pure love, and impelled to act by Kṛṣṇa’s satya-sankalpa śakti (potency to instantly fulfill desires), brought millions of other nights, which were all needed for carrying out such loving pastimes, into that single night of merely four praharas (twelve hours). Therefore the word for nights (rātrīḥ) is plural in this verse. This fact is confirmed later in the Bhāgavatam (10.33.38): brahma-rātra upāvṛtte, “After an entire night of Brahmā had passed.” In other words, this night (śārada-pūrṇimā) became the length of Brahmā’s night. Previously when Kṛṣṇa stole the clothing of the virgin gopīs, He said, “On all the future nights you will enjoy with Me.” Śrī Baladeva Vidyābhūṣana says rātrīḥ is plural to indicate the numerous demigods in charge of the night, who came there to perform service.

The attractiveness of the place:

Sāradotphulla-mallikāḥ—Although out of season, the jasmine (mallikāḥ) flowers were blossoming in the autumn. In the next chapter, verse eleven also states, “At the time of the rāsa dance, the garland of jasmine (kunda) flowers on Kṛṣṇa’s neck became tinged with the kuṅkuma from Rādhā’s breasts.” Thus it should be understood that the jasmines were blossoming out of season in the autumn. Verse forty-five of this chapter says, “The gentle wind bore the fragrance of lotus flowers (kumudāmoda-vāyunā).” Although lotuses do not bloom at night, it is understood that on this special night the lotuses also blossomed. Such is the superexcellent charm of Vṛndāvana, that there lotus flowers open even during the night. If we take an alternate reading of śāradotphulla-mallikāḥ, it means that both śārada and mallikāḥ flowers were blooming.

Attractiveness of the Vraja-gopīs:

Śrī Kṛṣṇa got ready to enjoy those nights. In this regard, some may interpret the word reme (take pleasure) [ref. SB 10.33.16] as meaning that since Kṛṣṇa is actually self-satisfied and innately full in all desires, this apparent enjoyment on His part with young women is only an external show, a false imitation of human life. It is in reply to such a possible interpretation that the phrase rantuṁ manaś cakre is used to inform us that Kṛṣṇa enjoyed internally within His mind (manas), not externally.

Very well, someone may say in agreement, this enjoyment is internal, but only for the cowherd damsels of Vraja because they are Kṛṣṇa’s devotees. To refute such an idea the word cakre is intentionally used in ātmanepada [verb conjugation] instead of parasmaipada to express that this enjoyment is for Kṛṣṇa’s own satisfaction. This moreover shows the Vraja-gopīs had such an incredible degree of kṛṣṇa-prema that the Supreme Lord Himself, although already fulfilled in all possible pleasures, was thinking of enjoying with them. The phrase ittham-bhūta-guṇo hariḥ (the wonderful qualities of Lord Hari) in the famous ātmārāmās ca munayo verse from the Bhāgavatam (1.7.10) establishes the superexcellence of the Vraja-gopīs.

The Viṣṇu Purāna says, “Lord Madhusūdana, even though free from all flaws of passion and imperfect qualities, fulfilled His youth (kaisora age) by enjoying with the beautiful women of Vraja in the night.” Hari-vaṁśa says, “Śrī Kṛṣṇa brought together in the night all the young cowherd girls, both married and unmarried, and fulfilled the purpose of His youth (kaiśora age) by enjoying with them.”

If Kṛṣṇa failed to enjoy with the Vraja-gopīs, His youthfulness (kaiśora age) would have been fruitless. Therefore, great authorities such as Śrīla Rūpa Gosvāmī state: kaiśoraṁ saphalī-karoti kalayan kuñje vihāraṁ hariḥ, “Lord Hari perfects His youth (kaiśoram) by arranging loving pastimes in the bushes of Vṛndāvana” (Bhakti-rasāmṛta-sindhu 2.1.231). Such statements by realized ācāryas of devotion subtly hint at the topmost supremacy of the young ladies of Vraja by revealing their supremely attractive qualities.

By using the word yogamāyām which means that this was an action of Kṛṣṇa’s personal, inconceivable spiritual potency (cit-śakti), Śukadeva Gosvāmī reconciles everything contradictory and clarifies everything left unsaid. The prefix upa (fully) in the word upāśritaḥ (resorting to) indicates that Kṛṣṇa took shelter in a most profound and complete manner. The fact that Kṛṣṇa resorted to yogamāyā, out of all the potencies that lie at His disposal, pronounces the good fortune of yogamāyā.

|| 10.29.2 ||

tadoḍurājaḥ kakubhaḥ karair mukhaṁ prācyā vilimpann aruṇena śantamaiḥ

sa carṣaṇīnām udagāc chuco mṛjan priyaḥ priyāyā iva dīrgha-darśanaḥ

TRANSLATION

The moon then rose, anointing the face of the eastern horizon with the reddish hue of his comforting rays, and thus dispelling the pain of all who watched him rise. The moon was like a beloved husband who returns after a long absence and adorns the face of his beloved wife with red kuṅkuma.

COMMENTARY

When Kṛṣṇa became inclined to enjoy under the spell of the time and place, at that moment the moon, finding an opportunity to render service, rose of its own will in the eastern direction with its pleasing rays of light. The rising of the moon, the king of the stars (uḍu-rājaḥ), was another cause for the enflaming of passionate desires. In addition to being a stimulator (uddīpana) of conjugal feelings, the moon also served Kṛṣṇa and the gopīs by illuminating their pleasure pastimes with its brilliant light.

When a lover meets his beloved after a long separation, he colors her face with kuṅkuma (aruṇena, reddish color) with his own hand. Similarly, the rising moon colored the face of the western direction with the reddish hue of its pleasing rays (karaiḥ). The word sa expresses that he has already been mentioned.

The moon removed the discomfort caused by the heat of the sun from all men (carṣaṇīnām). The word carṣaṇīnām, which is in the genitive case, means “of humankind” according to the Bhagavatam (6.6.42):

aryamṇo mātṛkā patnī tayoś carṣaṇayaḥ sutāḥ

yatra vai mānuṣī jātir brahmaṇā copakalpitā

“From the womb of Mātṛkā, the wife of Aryama, were born many learned scholars (carṣaṇayaḥ). Lord Brahmā arranged for these carṣaṇayaḥ to be the forefathers of the human race.”

The idea of this verse is as follows: The moon-god, the very founder of the dynasty in which Kṛṣṇa appeared (Candra-vaṁśa) and the most ancient leader of the brāhmaṇa community, possesses many wives of his own who were all quite fit to be enjoyed, yet he is touching the face of the western direction, who is another’s wife, namely Indra. By touching her, the moon-god is also making her attracted to him. This verse hints that if this is the case with the moon-god, the leader of Kṛṣṇa’s dynasty, then certainly there is no fault in Kṛṣṇa, a descendent of his dynasty, enjoying with the gopīs. After all, Kṛṣṇa is a fresh youth intoxicated with the beauty of His human form, and He is an unmarried member of the cowherd community. Besides, Kṛṣṇa is so uniquely enchanting that He excites all the women in the universe!

|| 10.29.3 ||

dṛṣṭvā kumudvantam akhaṇḍa-maṇḍalaṁ
ramānanābhaṁ nava-kuṅkumāruṇam

vanaṁ ca tat-komala-gobhī rañjitaṁ

jagau kalaṁ vāma-dṛśāṁ manoharam

TRANSLATION

Lord Kṛṣṇa saw the unbroken disk of the full moon glowing with the red effulgence of newly applied vermilion, as if it were the face of the goddess of fortune. He also saw the kumuda lotuses opening in response to the moon’s presence and the forest gently illumined by its rays. Thus the Lord began to play sweetly on His flute, attracting the minds of the beautiful-eyed gopīs.

COMMENTARY

Kṛṣṇa succumbed to romantic desires upon seeing the rising moon. Keeping in mind the saying, “whatever great men do others will follow” (yad yad ācarati śreṣṭhas tat tad evetaro janaḥ), and seeing the behavior of the founder of His own dynasty, Kṛṣṇa felt free to make a definite effort to attract others’ wives there to enjoy without fear.

This verse indicates the two elements of vibhāva (causes of love for Kṛṣṇa to appear): ālambana (the shelter of rasa) and uddīpana (excitants to love). The moon is the uddīpana and Kṛṣṇa’s form is the ālambana.

Uddīpana: Kumut is the same as kumuda, as stated in the Visvakośa dictionary, kumude ’pi kumut proktam, that moon in whose presence the kumuda lotuses can open. Another interpretation can also be given for this: The presence of the moon (and Kṛṣṇa) gave pleasure (mud) to the earth (ku). This also applies to Kṛṣṇa, since actually in this context the specific antecedent modified and the modifier is left unstated. The full moon manifested a form resembling an unbroken disk (akhaṇḍa-maṇḍalaṁ).

The moon is the brother of Ramā (Laksmī) because both were born from the churning of the Milk Ocean, therefore his face resembles hers. Or the word ramā refers to Rādhā, the original Laksmī, as we find in the Bṛhad-gautamīya-tantra:sarva-lakṣmī-mayī sarva, kāntih sammohinī parā, “Rādhā, the source of all Laksmīs, possesses all the attractiveness to attract the all-attractive Personality of Godhead.”

The gopīs are also ramā because they enjoy (ramaṇte) and give pleasure (ramayanti) to Kṛṣṇa. Śrī Kṛṣṇa became absorbed in remembering the gopīs’ faces upon seeing that moon. According to one interpretation, the faces of those ramās (gopīs) exhibited wonderfully effulgent complexions that revealed their inner transformations of love. Consequently, Kṛṣṇa saw Himself as red as a ball of kuṅkuma powder in the reflection of that shining moonlight (of the gopīs’ faces). Or that moon (of the gopīs’ faces) was red due to the recent application of kuṅkuma, and Kṛṣṇa’s face had become colored (rañjitam) by the gentle rays (komala gobhiḥ) of that moon.

Otherwise the compound can be divided to give the word abhira-jitaṁ. According to yet another interpretation, the forest was tinged red (abhira-jita) by the famous rays of Kṛṣṇa’s own bodily effulgence, or else by the cows (gobhiḥ) that He was tending. The absence of the expected inflectional ending t’aj is a poetic license of the sages.

ālambana: Seeing these two opulent manifestations of the enflaming power of Cupid, Śrī Kṛṣṇa played sweetly on His flute. Verse forty says, “Is there any woman in the three worlds who can maintain her chastity on hearing the sweet melodious sounds of Kṛṣṇa’s flute?” In what manner did Kṛṣṇa play His flute? This verse answers by saying that Kṛṣṇa played in such a way as to captivate even those young girls with enchanting eyes (vāma-dṛśāṁ manoharam). The Sruti confirms, gāyantam śtrīya kāmayanta, “The women became full of desire for that singing.”

From this it should be concluded that Kṛṣṇa used the flute to utter the kāma-bīja, klīm—the seed mantra of transcendental love. The word kalaṁ (sweetly) indicates “K” and “L” coming from the two consonants ka-kāra and la-kāra. By removing the grammatical inflection from vāma-dṛśāṁ, we get vāma-dṛk, which is the name for the fourth vowel “I”. With that vowel Kṛṣṇa’s flute vibrated the fifteenth sound of the alphabet “M.” The word manaḥ (mind) indicates the moon, the lord of the mind, which represents the candra bindu “M.” The word hara (manoharam) means to attract or to combine. Thus the kama-bija mantra “Klīm” is indicated here. In other words, Kṛṣṇa’s flute vibrated the kāma-bīja, the original mantra of Cupid which has the mysterious power to attract and enchant the minds of all the young damsels of Vraja.

|| 10.29.4 ||

niśamya gītāṁ tad anaṅga-vardhanaṁ

vraja-striyaḥ kṛṣṇa-gṛhīta-mānasāḥ

ājagmur anyonyam alakṣitodyamāḥ

sa yatra kānto java-lola-kuṇḍalāḥ

TRANSLATION

When the young women of Vṛndāvana heard Kṛṣṇa’s flute song, which arouses romantic feelings, their minds were captivated by the Lord. They went to where their lover waited, each unknown to the others, moving so quickly that their earrings swung back and forth.

COMMENTARY

The gopīs went towards Kṛṣṇa as if they were puppets pulled by the strings of His flute song. That dulcet song was not only alluring, but it also increased their love (anaṅga).

Kṛṣṇa instigated a terrible act of thievery in Vṛndāvana when He played on His flute. The song of Kṛṣṇa’s flute passed through the ears of the gopīs, and entered the treasure chamber of their hearts. That wonderful music stole all their most valuable possessions—their sobriety, shyness, fear and discrimination, along with their very minds—and in a split second this music delivered all these goods to Kṛṣṇa. Thus afflicted each beautiful kiśorī was thinking, ‘I have to capture that great thief,’ and thus they went forward, each unknown to the others.

They began to chase the thief to catch Him and retrieve their property. Where did they go? The gopīs’ earrings were swinging as they rushed to that place where their beloved was standing. The word kuṇḍalāḥ (earrings) also indicates their bracelets and anklets were swinging too. It appears that thief did not consider the gopīs’ external ornaments worthy of stealing.

|| 10.29.5 ||

duhantyo ’bhiyayuḥ kāścid dohaṁ hitvā samutsukāḥ

payo ’dhiśritya saṁyāvam anudvāsyāparā yayuḥ

TRANSLATION

Some of the gopīs were milking cows when they heard Kṛṣṇa’s flute. They stopped milking and went off to meet Him. Some left milk curdling on the stove, and others left cakes burning in the oven.

COMMENTARY

Three verses (5-7) describe the gopīs complete absence of attach-ment to their duties in their haste to meet Kṛṣṇa. The gopīs could not wait a second, so they neglected all their duties based on “I and mine.” Some of them even left aside the particular duties of their social class. The gopīs engaged in milking the cows abandoned this work and went off. Some gopīs left pots of milk boiling on the stove, and others left wheat cakes baking in the oven.

|| 10.29.6-7 ||

pariveṣayantyas tad dhitvā pāyayantyaḥ śiśūn payaḥ

śuśrūṣantyaḥ patīn kāścid aśnantyo ’pāsya bhojanam

limpantyaḥ pramṛjantyo ’nyā añjantyaḥ kāśca locane

vyatyasta-vastrābharaṇāḥ kāścit kṛṣṇāntikaṁ yayuḥ

TRANSLATION

Some of them were getting dressed, feeding milk to their infants or rendering personal service to their husbands, but they all gave up these duties and went to meet Kṛṣṇa. Other gopīs were taking their evening meals, washing themselves, putting on cosmetics or applying kajjala to their eyes. But all the gopīs stopped these activities at once and, though their clothes and ornaments were in complete disarray, rushed off to Kṛṣṇa.

COMMENTARY

These two verses describe how the gopīs gave up their duties as wives and mothers. While engaged in dressing they abandoned that business and failed to dress themselves adequately. Some stopped bringing warm water to their husbands, and rendering other services such as serving food. While cleansing their bodies with oils, bathing, and anointing themselves with turmeric and sandalwood paste, they dropped everything and hurried out of their homes.

Some gopīs were in such a rush that they could not distinguish hand from foot or nose from ear, and thus put their ornaments in the wrong place as shown by the word (vyatyasta:disarray). Their behavior indicates vibhrama (bewilderment), one of the anubhāvas, bodily transformations indicating ecstatic love.

Vibhrama is described in Ujjvala-nīlamaṇi, Anubhāva-prakarana (Text 34):

vallabha-prāpti-velāyāṁ, madanāvesa-sambhramāt,

vibhramo hāra-mālyādi, bhūṣā-sthāna- viparyayah

“Hastily preparing to meet her lover, the bewildered heroine may place her necklace, flower-garland, and other ornaments in the wrong places. This is called vibhrama.”

|| 10.29.8 ||

tā vāryamāṇāḥ patibhiḥ pitṛbhir bhrātṛ-bandhubhiḥ

govindāpahṛtātmāno na nyavartanta mohitāḥ

TRANSLATION

Their husbands, fathers, brothers and other relatives tried to stop them, but Kṛṣṇa had already stolen their hearts. Enchanted by the sound of His flute, they refused to turn back.

COMMENTARY

“Out of extreme love the gopīs gave up all duties. That is expected but how could their husbands and other relatives give up their concern about them?” This is replied to in this verse.

Though the husbands tried to stop their wives and the fathers tried to stop their unmarried daughters, they could not dissuade them from going because their very souls had been stolen by Govinda (govinda-apahṛta-ātmānaḥ), what to speak of the gopīs’ fear, shame and self-control. Thus the Vraja-gopīs moved as if they were in trance (mohitāḥ), like puppets pulled by strings.

How could their husbands, who out of fear of losing their reputation, would ordinarily never allow even the young girls’ dead bodies to go alone into the forest at night, tolerate letting their wives go away in such a crazed state? This being true, Kṛṣṇa’s internal potency, Yogamāyā, unfolded the entire romantic episode without interference. Yogamāyā did this by producing replica bodies of the gopīs, who then stayed in their husbands’ homes, while the original spiritual bodies of gopīs ran into the forest to dance with Govinda.

|| 10.29.9 ||

antar-gṛha-gatāḥ kāścid gopyo ’labdha-vinirgamāḥ

kṛṣṇaṁ tad-bhāvanā-yuktā dadhyur mīlita-locanāḥ

TRANSLATION

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