Expanding Himself us many times as there were cowherd women to associate with, the Supreme Lord, though self-satisfied, playfully enjoyed their company.

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TRANSLATION

As the gopīs sang in praise of Kṛṣṇa, their feet danced, their hands gestured, and their eyebrows moved with playful smiles. With their braids and belts tied tight, their waists bending, their faces perspiring, the garments on their breasts moving this way and that, and their earrings swinging on their cheeks, Lord Kṛṣṇa’s young consorts shone like streaks of lightning in a mass of clouds.

COMMENTARY

Just as Kṛṣṇa appeared more beautiful in the gopīs’ presence, they appeared even more so in His association. The foot movements of the gopīs matched the mood and rhythm of the songs. In this way the gopīs manifested more and more colorful dances and songs along with the shaking of their arms (bhuja-vidhutibhiḥ), which were locked together. Furthermore, sometimes they would let go of each other’s interlocked arms and dexterously display different mudras (hand movements) to act out the meaning of the songs, along with various kinds of evocative gestures with their smiling eyebrows (sa-smitair bhrū-vilāsair). This was done to convey their transcen-dental moods and to show their own expertise.

Bhajyan madhyaiś means that the gopīs waists were bending, either because of their natural slenderness or because of the swirling movements of their dancing. The gopīs picked up the cloths (cala-kuca-paṭaiḥ) that they had previously laid on the ground for Kṛṣṇa to sit on, and waved them in the air while they sang.

According to the Nānārtha-varga dictionary, the word vadhū can mean wife, sister-in-law or else a woman in general. Therefore, Kṛṣṇa-vadhvaḥ means “the woman enjoyed by Kṛṣṇa.” If we take the meaning of vadhū as wife, it would contradict the words of Bhīṣma who said, prakṛtim agan kila yasya gopa-vadhvaḥ, “Let me surrender to Kṛṣṇa whose mood was attained by the wives of the gopas (gopa-vadhvaḥ) during the rāsa-līlā” (SB 1.9.40) Bhisma did not say “wives of Kṛṣṇa,” so we should not give such an interpretation. In Vaiṣṇava-toṣaṇī, Śrī Sanātana Gosvāmī also does not interpret vadhū as wife in this verse. He says the golden-limbed gopīs are the vadhūs “wives” of beautiful dark-blue Kṛṣṇa in the sense that, just like wives, the gopīs are embraced only by Kṛṣṇa, sheltered only by Kṛṣṇa and enjoyed only by Kṛṣṇa.

|| 10.33.8 ||

uccair jagur nṛtyamānā rakta-kaṇṭhyo rati-priyāḥ

kṛṣṇābhimarśa-muditā yad-gītenedam āvṛtam

TRANSLATION

Eager to enjoy conjugal love, their throats colored with various pigments, the gopīs sang loudly and danced. They were overjoyed by Kṛṣṇa’s touch, and they sang songs that filled the entire universe.

COMMENTARY

The word (nṛtyamānā) means dancing, honor or respect. Kṛṣṇa honored the gopīs for their dancing and singing. Rakta-kaṇṭha means the gopīs’ throats were tinged with various rāgas. Saṅgīta-sāra, an authoritative book on music, says tāvanta eva rāgāḥ sūryāvatyo jīva-jātayaḥ, teṣu ṣoḍaśa-sāhasrī purā gopī-kṛtā varā: “There are as many musical rāgas (melodies) as there are species of life. Among those rāgas, the sixteen thousand sung by the gopīs are the foremost.”

The gopīs were very attached to the affection (rati-priyāḥ) shown by Kṛṣṇa. Becoming blissful from Kṛṣṇa’s touch (abhimarśa:sparśa), they did not feel any fatigue from dancing. Their singing (yad-gītena) pervaded (āvṛtam) the entire universe (idam). The words yad-gītenedam āvṛtam also indicate that even today devotees throughout the world sing the praises of Kṛṣṇa, following the example of the gopīs.

|| 10.33.9 ||

kācit samaṁ mukundena svara-jātīr amiśritāḥ

unninye pūjitā tena prīyatā sādhu sādhv iti

tad eva dhruvam unninye tasyai mānaṁ ca bahv adāt

TRANSLATION

One gopī, joining Lord Mukunda in His singing, sang pure melodious tones that rose harmoniously above His. Kṛṣṇa was pleased and showed great appreciation for her performance, saying “Excellent! Excellent!” Then another gopī repeated the same melody, but in a special metrical pattern, and Kṛṣṇa praised her also.

COMMENTARY

The svaras (seven notes of the scale) are born from the śrutis. These seven svaras correspond somewhat to the cries of the peacock, cātaka, goat, crane, cuckoo, stork and elephant. There are eighteen jātis (chromatic tones) which arise from these svaras. Jātis are the source of rāgas. There are two types of jātis: pure and distorted. The pure jātis are the seven harmonic tones known as ṣaḍja, ṛṣabha, gāndhāra, madhyama, pañcama, daivata and niṣāda. When they are transformed (flattened or sharpened) they are known as distorted vikṛta.

Though they all sang, Kṛṣṇa did not sing at the same time (amiśritāḥ) as the gopīs. Another meaning of amiśritāḥ is that the gopīs sang with pure jātis, not mixed with any intermediate tones.

This was possible because the gopī was singing only these pure harmonic tones, due to her supreme expertise. Although she was performing this difficult feat, she vibrated them excellently. Appreciating the skilful singing of this gopī, Kṛṣṇa honored her by giving His yellow chādar. Authorities conclude that this gopī was Viśākhā.

Another gopī expertly performed the ālāpa of one song with dhruva tāla. Kṛṣṇa honored her with ornaments such as finger rings, jewel-studded necklaces and His own slippers. This gopī displayed even more excellence than Viśākhā and was none other than Lalitā-sakhī. Seeing that the gopīs were reluctant to bring the rāgas and rāginīs they sung to even greater levels of beauty, Rādhā Herself then sang. From this we can understand that among all the gopīs, Rādhā was endowed with most the excellent and attractive of all qualities.

|| 10.33.10 ||

kācid rāsa-pariśrāntā pārśva-sthasya gadā-bhṛtaḥ

jagrāha bāhunā skandhaṁ ślathad-valaya-mallikā

TRANSLATION

When one gopī grew tired from the rāsa dance, She turned to Kṛṣṇa, standing at Her side holding a baton, and grasped His shoulder with Her arm. The dancing had loosened Her bracelets and the flowers in Her hair.

COMMENTARY

After alluding to the excellent singing and dancing of Lalitā and Viśākhā, the most prominent gopī, Śrī Rādhā, is indicated by describing Her good fortune. Gadā-bhṛtaḥ refers to Kṛṣṇa, as the person who held or encouraged discussions (gadam) about the various merits of the two gopīs’ singing. One gopī leaned upon Kṛṣṇa’s shoulder with Her right arm. Her bracelets, ornaments and the flowers in Her hair all became loose. This special gopī was Vṛṣabhānunandini Śrī Rādhā, because as an independent lover She is showing the mentality of being superior to Her boyfriend.

|| 10.33.11 ||

tatraikāṁsa-gataṁ bāhuṁ kṛṣṇasyotpala-saurabham

candanāliptam āghrāya hṛṣṭa-romā cucumba ha

TRANSLATION

Upon the shoulder of one gopī Kṛṣṇa placed His arm, whose natural blue-lotus fragrance was mixed with that of the sandalwood pulp anointing it. As the gopī relished that fragrance, her bodily hair stood on end in jubilation, and she kissed His arm.

COMMENTARY

One gopī then kissed the arm resting on her shoulder (āṁsa-gataṁ bāhuṁ), which was anointed with sandalwood paste. Even though that arm was anointed with sandalwood pulp, the prominent aroma of lotuses, which naturally emanates from Kṛṣṇa’s body, covered the fragrance of the sandalwood pulp. Since this gopī is acting in the same way as the gopī described in verse (10.32.4). she is indeed Śyāmalā-sakhī.

|| 10.33.12 ||

kasyāścin nāṭya-vikṣipta kuṇḍala-tviṣa-maṇḍitam

gaṇḍaṁ gaṇḍe sandadhatyāḥ prādāt tāmbūla-carvitam

TRANSLATION

Next to Kṛṣṇa’s cheek one gopī put her own, beautified by the effulgence of her earrings, which glittered as she danced. Kṛṣṇa then carefully gave her the betel nut He was chewing.

COMMENTARY

One gopī, whose swinging earrings reflected brightly on her cheeks, touched her cheek to Kṛṣṇa’s check on the pretense of fatigue. Kṛṣṇa offered some of His chewed betel-nut by passing over as He kissed her. The word prādāt comes from pra in prakrsta “in a special way,” and ādāt “He gave.” This is Śaibyā, the gopī referred to in verse five of the last chapter.

|| 10.33.13 ||

nṛtyatī gāyatī kācit kūjan nūpura-mekhalā

pārśva-sthācyuta-hastābjaṁ śrāntādhāt stanayoḥ śivam

TRANSLATION

Another gopī became fatigued as she danced and sang, the bells on her ankles and waist tinkling. So she placed upon her breasts the comforting lotus hand of Lord Acyuta, who was standing by her side.

COMMENTARY

While dancing and singing one gopī placed Kṛṣṇa’s lotus hand upon her breast. This particular gopī is Candrāvalī, who seized Kṛṣṇa’s hand in (10.32.4). Padmā-sakhī held Kṛṣṇa’s lotus feet on her breast (10.32.5). Though there is a difference between holding Kṛṣṇa’s hands and feet, in both cases the gopī did this to relieve herself of the love pains in her breast. Thus the present verse can also refer to Padmā-sakhī. Though the eighth gopī, namely Bhadrā, is not mentioned here, she is mentioned in the Viṣṇu Purāṇa.

|| 10.33.14 ||

gopyo labdhvācyutaṁ kāntaṁ śriya ekānta-vallabham

gṛhīta-kaṇṭhyas tad-dorbhyāṁ gāyantyas tam vijahrire

TRANSLATION

Having attained as their intimate lover Lord Acyuta, the exclusive consort of the goddess of fortune, the gopīs enjoyed great pleasure. They sang His glories as He held their necks with His arms.

COMMENTARY

In this way, other gopīs enjoyed with Kṛṣṇa according to their individual ecstatic sentiments. The wives of Kāliya said that Laksmī performed severe penances to attain Kṛṣṇa but could not attain Him (yad-vāñchayā śrīr lalanācarat tapo (SB 10.16.36). Uddhava also said that Laksmī could not get the same mercy as the Vraja-gopīs achieved (nāyaṁ śriyo ’ṅga u nitānta-rateḥ prasādaḥ. (SB 10.47.60) The Bṛhad-bhāgavatāmṛta says that Laksmī became greedy to attain Kṛṣṇa upon seeing His beauty. Even though she performed severe penances, still she could not attain Him (srīprekṣya kṛṣṇa-saundaryaṁ tatra lubdhvācarat tapaḥ). From these verses it must be concluded that Laksmī did not attain Kṛṣṇa. Therefore the phrase sriya ekānta-vallabham in this verse cannot mean “Kṛṣṇa was the exclusive lover of Laksmī.”

Instead the meaning is as follows: Attaining the most attractive Acyuta Kṛṣṇa as their exclusive lover (ekānta), the gopīs encircled His neck with their arms and enjoyed with Him. The word śrīyaḥ can mean “who were just like goddesses of fortune.” Just as Laksmī enjoys being held upon the chest of Lord Nārāyaṇa, similarly the Vraja-gopīs enjoyed having their necks encircled by the arms of Kṛṣṇa. Or else, because Kṛṣṇa is one with Nārāyaṇa, Kṛṣṇa is also the beloved of the goddess of fortune.

|| 10.33.15 ||

karṇotpalālaka-viṭaṅka-kapola-gharma-

vaktra-śriyo valaya-nūpura-ghoṣa-vādyaiḥ

gopyaḥ samaṁ bhagavatā nanṛtuḥ sva-keśa-

srasta-srajo bhramara-gāyaka-rāsa-goṣṭhyām

TRANSLATION

Enhancing the beauty of the gopīs’ faces were the lotus flowers behind their ears, the locks of hair decorating their cheeks, and drops of perspiration. The reverberation of their armlets and ankle bells made a loud musical sound, and their chaplets scattered. Thus the gopīs danced with the Supreme Lord in the arena of the rāsa dance as swarms of bees sang in accompaniment.

COMMENTARY

After describing the splendid excellence of their dancing and singing, Śukadeva Gosvāmī now describes the magnificent beauty of the gopīs’ faces, which were enhanced by swaying earrings, scattered hair and the drops of perspiration on their foreheads. All of this intensified the loveliness of their faces as they danced. The melodious tinkling of their bangles and ankle bells surpassed the music of the drums, flutes and other instruments that were playing. The presiding deities of the instruments all appeared there to make their lives successful. Amazingly, the instruments sounded without anyone having to play them. The fragrant flower garlands tied in the gopīs’ hair loosened and fell to the ground, as if their hair styles, pleased with the skilful dance steps of the gopīs, were offering flowers in appreciation of their talent.

|| 10.33.16 ||

evaṁ pariṣvaṅga-karābhimarśa-snigdhekṣaṇoddāma-vilāsa-hāsaiḥ

reme rameśo vraja-sundarībhir yathārbhakaḥ sva-pratibimba-vibhramaḥ

TRANSLATION

In this way Lord Kṛṣṇa, the original Lord Nārāyaṇa, master of the goddess of fortune, took pleasure in the company of the young women of Vraja by embracing them, caressing them and glancing lovingly at them as He smiled His broad, playful smiles. It was just as if a child were playing with his own reflection.

COMMENTARY

All these elements of song, dance and beauty brought Kṛṣṇa’s play of love to perfection. During the rāsa dance Kṛṣṇa relished varieties of enjoyment in direct association with the gopīs. When the dance reached a climax, Kṛṣṇa touched (ābhimarśa) the gopīs’ left breasts with His right hand (kara) and counted the tāla of the music on their breasts by tapping His fingers to the beat. The phrase snigdha-īkṣaṇa means that Kṛṣṇa glanced lovingly or looked at the private parts of gopīs’ bodies as they danced. Hāsaiḥ indicates that Kṛṣṇa’s face bloomed with smiles after receiving the gopīs’ sweet kisses.

Kṛṣṇa is addressed as rameśo, which means He is the master of all opulences. It can also mean Kṛṣṇa is the exclusive lover (ramana) of the gopīs. Enchanted by the pure love of the gopīs, Kṛṣṇa sported with them just like a frolicsome boy plays with his own shadow (pratibimba). But how could one person enjoy with thousands of gopīs? Kṛṣṇa expanded His form into many to delight (vibhramaḥ) with each gopī who was also an expansion of His own form (bimba). The gopīs were the hlādinī-śakti, pleasure potencies, expanded from Kṛṣṇa’s personal form (svarūpa). Similarly Śrīmad Bhāgavatam (3.2.11) states that sva-bimbaṁ refers to Kṛṣṇa’s own form. Therefore the meaning of the verse is: “Kṛṣṇa, expanding Himself in unlimited, fully potent forms (prābhava-prakāśa-rupa), enjoyed with each of the gopīs who were manifested from His own internal potency.” The phrase sva-pratibimba (His own reflection) cannot be explained in any other way. To say that bimba means shadow is inappropriate.

|| 10.33.17 ||

tad-aṅga-saṅga-pramudākulendriyāḥ keśān dukūlaṁ kuca-paṭṭikāṁ vā

nāñjaḥ prativyoḍhum alaṁ vraja-striyo visrasta-mālābharaṇāḥ kurūdvaha

TRANSLATION

Their senses overwhelmed by the joy of having His physical association, the gopīs could not prevent their hair, their dresses and the cloths covering their breasts from becoming disheveled. Their garlands and ornaments scattered, O hero of the Kuru dynasty.

COMMENTARY

The touch of Kṛṣṇa’s body (tad-aṅga-saṅga) thrilled the gopīs with ecstasy. As a result, their hair, bodices, dresses, garlands and ornaments all became disheveled.

|| 10.33.18 ||

kṛṣṇa-vikrīḍitaṁ vīkṣya mumuhuḥ khe-cara-striyaḥ

kāmārditāḥ śaśāṅkaś ca sa-gaṇo vismito ’bhavat

TRANSLATION

The wives of the demigods, observing Kṛṣṇa’s playful activities from their airplanes, were entranced and became agitated with lust. Indeed, even the moon and his entourage, the stars, became astonished.

COMMENTARY

The heavenly women became agitated by lusty desires (kāmārditāḥ) for Kṛṣṇa. The moon along with the constellations became astonished. In one version the word kāmārditā is in the masculine form modifying the moon, which is male. Thus the moon, taking up the mood of a woman, was also tormented by lust for Kṛṣṇa.

The demigoddesses traveling in the sky (khe-cara-striyaḥ) could see the rāsa-līla. But Yogamāyā covered the vision of the males watching the rāsa dance, so they could not see the bodies of the Vraja-gopīs and their intimate pastimes with Kṛṣṇa.

|| 10.33.19 ||

kṛtvā tāvantam ātmānaṁ yāvatīr gopa-yoṣitaḥ

reme sa bhagavāṁs tābhir ātmārāmo ’pi līlayā

TRANSLATION

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