Before Verses
Devanagari
Verse Text
Synonyms
Translation
Purport
CHAPTER THIRTY-FIVE
The Gopīs Sing of Kṛṣṇa as He Wanders in the Forest
This chapter contains the songs the gopīs sing to express their feelings of separation from Kṛṣṇa when He goes to the forest during the day.
As the gopīs’ mood of separation from Śrī Kṛṣṇa becomes ever more intense, His names, forms, qualities and pastimes begin spontaneously manifesting in their hearts. Thus they join together and sing as follows: “The beauty of Kṛṣṇa attracts the minds of all. When He stands in His threefold-bending way and plays upon His flute, the Siddhas’ wives, flying in the sky with their husbands, become attracted to Him and forget external reality. The bulls, cows and other animals in the pasture become stunned in ecstasy, and they stand so still, with the grass unchewed between their teeth, that they appear like figures in a drawing. Indeed, even the unconscious rivers stop flowing.
“Just see! When Kṛṣṇa dresses Himself in forest array and calls the cows’ names by blowing on His flute, even the trees and creepers become so ecstatic out of love that their limbs display eruptions and their sap pours down like a torrent of tears. The sound of Kṛṣṇa’s flute causes the cranes, swans and other birds in the lakes to close their eyes in deep meditation, the clouds in the sky to gently rumble, imitating the flute’s vibration, and even such great authorities in the science of music as Indra, Śiva and Brahmā to become astonished. And just as we gopīs are anxious to offer everything we have to Kṛṣṇa, so the wives of the black deer follow Him about, imitating us.
“When Kṛṣṇa is returning to Vraja, He constantly plays His flute while His young companions chant His glories, and Brahmā and other chief demigods come to worship His lotus feet.”
Thus the gopīs, feeling intense separation from Kṛṣṇa, sing of His pastimes.
Devanagari
श्रीशुक उवाच
गोप्य: कृष्णे वनं याते तमनुद्रुतचेतस: ।
कृष्णलीला: प्रगायन्त्यो निन्युर्दु:खेन वासरान् ॥ १ ॥
गोप्य: कृष्णे वनं याते तमनुद्रुतचेतस: ।
कृष्णलीला: प्रगायन्त्यो निन्युर्दु:खेन वासरान् ॥ १ ॥
Verse text
śrī-śuka uvāca
gopyaḥ kṛṣṇe vanaṁ yāte
tam anudruta-cetasaḥ
kṛṣṇa-līlāḥ pragāyantyo
ninyur duḥkhena vāsarān
gopyaḥ kṛṣṇe vanaṁ yāte
tam anudruta-cetasaḥ
kṛṣṇa-līlāḥ pragāyantyo
ninyur duḥkhena vāsarān
Synonyms
śrī-śukaḥ uvāca — Śrī Śukadeva Gosvāmī said; gopyaḥ — the gopīs; kṛṣṇe — Lord Kṛṣṇa; vanam — to the forest; yāte — having gone; tam — after Him; anudruta — chasing; cetasaḥ — whose minds; kṛṣṇa-līlāḥ — the transcendental pastimes of Kṛṣṇa; pragāyantyaḥ — singing loudly; ninyuḥ — they passed; duḥkhena — unhappily; vāsarān — the days.
Translation
Śukadeva Gosvāmī said: Whenever Kṛṣṇa went to the forest, the minds of the gopīs would run after Him, and thus the young girls sadly spent their days singing of His pastimes.
Purport
Although the gopīs enjoyed direct association with Kṛṣṇa at night in the rāsa dance, during the day He went about His normal duties, tending His cows in the forest. At that time the minds of the gopīs would run after Him, but the young girls had to stay back in the village and do their own duties. Thus feeling the pain of separation, they would sing about Śrī Kṛṣṇa’s transcendental pastimes.
Devanagari
श्रीगोप्य ऊचु:
वामबाहुकृतवामकपोलो
वल्गितभ्रुरधरार्पितवेणुम् ।
कोमलाङ्गुलिभिराश्रितमार्गं
गोप्य ईरयति यत्र मुकुन्द: ॥ २ ॥
व्योमयानवनिता: सह सिद्धै-
र्विस्मितास्तदुपधार्य सलज्जा: ।
काममार्गणसमर्पितचित्ता:
कश्मलं ययुरपस्मृतनीव्य: ॥ ३ ॥
वामबाहुकृतवामकपोलो
वल्गितभ्रुरधरार्पितवेणुम् ।
कोमलाङ्गुलिभिराश्रितमार्गं
गोप्य ईरयति यत्र मुकुन्द: ॥ २ ॥
व्योमयानवनिता: सह सिद्धै-
र्विस्मितास्तदुपधार्य सलज्जा: ।
काममार्गणसमर्पितचित्ता:
कश्मलं ययुरपस्मृतनीव्य: ॥ ३ ॥
Verse text
śrī-gopya ūcuḥ
vāma-bāhu-kṛta-vāma-kapolo
valgita-bhrur adharārpita-veṇum
komalāṅgulibhir āśrita-mārgaṁ
gopya īrayati yatra mukundaḥ
vāma-bāhu-kṛta-vāma-kapolo
valgita-bhrur adharārpita-veṇum
komalāṅgulibhir āśrita-mārgaṁ
gopya īrayati yatra mukundaḥ
vyoma-yāna-vanitāḥ saha siddhair
vismitās tad upadhārya sa-lajjāḥ
kāma-mārgaṇa-samarpita-cittāḥ
kaśmalaṁ yayur apasmṛta-nīvyaḥ
vismitās tad upadhārya sa-lajjāḥ
kāma-mārgaṇa-samarpita-cittāḥ
kaśmalaṁ yayur apasmṛta-nīvyaḥ
Synonyms
śrī-gopyaḥ ūcuḥ — the gopīs said; vāma — left; bāhu — on His arm; kṛta — putting; vāma — left; kapolaḥ — His cheek; valgita — moving; bhruḥ — His eyebrows; adhara — upon His lips; arpita — placed; veṇum — His flute; komala — tender; aṅgulibhiḥ — with His fingers; āśrita-mārgam — its holes stopped; gopyaḥ — O gopīs; īrayati — vibrates; yatra — where; mukundaḥ — Lord Kṛṣṇa; vyoma — in the sky; yāna — traveling; vanitāḥ — the ladies; saha — together with; siddhaiḥ — the Siddha demigods; vismitāḥ — amazed; tat — to that; upadhārya — listening; sa — with; lajjāḥ — embarrassment; kāma — of lust; mārgaṇa — to the pursuit; samarpita — offered; cittāḥ — their minds; kaśmalam — distress; yayuḥ — they experienced; apasmṛta — forgetting; nīvyaḥ — the belts of their dresses.
Translation
The gopīs said: When Mukunda vibrates the flute He has placed to His lips, stopping its holes with His tender fingers, He rests His left cheek on His left arm and makes His eyebrows dance. At that time the demigoddesses traveling in the sky with their husbands, the Siddhas, become amazed. As those ladies listen, they are embarrassed to find their minds yielding to the pursuit of lusty desires, and in their distress they are unaware that the belts of their garments are loosening.
Purport
Śrīla Jīva Gosvāmī states that this chapter consists of a collection of statements the gopīs made at various times as they stood in small groups here and there in Vṛndāvana.
Devanagari
हन्त चित्रमबला: शृणुतेदं
हारहास उरसि स्थिरविद्युत् ।
नन्दसूनुरयमार्तजनानां
नर्मदो यर्हि कूजितवेणु: ॥ ४ ॥
वृन्दशो व्रजवृषा मृगगावो
वेणुवाद्यहृतचेतस आरात् ।
दन्तदष्टकवला धृतकर्णा
निद्रिता लिखितचित्रमिवासन् ॥ ५ ॥
हारहास उरसि स्थिरविद्युत् ।
नन्दसूनुरयमार्तजनानां
नर्मदो यर्हि कूजितवेणु: ॥ ४ ॥
वृन्दशो व्रजवृषा मृगगावो
वेणुवाद्यहृतचेतस आरात् ।
दन्तदष्टकवला धृतकर्णा
निद्रिता लिखितचित्रमिवासन् ॥ ५ ॥
Verse text
hanta citram abalāḥ śṛṇutedaṁ
hāra-hāsa urasi sthira-vidyut
nanda-sūnur ayam ārta-janānāṁ
narma-do yarhi kūjita-veṇuḥ
hāra-hāsa urasi sthira-vidyut
nanda-sūnur ayam ārta-janānāṁ
narma-do yarhi kūjita-veṇuḥ
vṛndaśo vraja-vṛṣā mṛga-gāvo
veṇu-vādya-hṛta-cetasa ārāt
danta-daṣṭa-kavalā dhṛta-karṇā
nidritā likhita-citram ivāsan
veṇu-vādya-hṛta-cetasa ārāt
danta-daṣṭa-kavalā dhṛta-karṇā
nidritā likhita-citram ivāsan
Synonyms
hanta — ah; citram — wonder; abalāḥ — O girls; śṛṇuta — hear; idam — this; hāra — (brilliant) like a necklace; hāsaḥ — whose smile; urasi — upon the chest; sthira — motionless; vidyut — lightning; nanda-sūnuḥ — son of Nanda Mahārāja; ayam — this; ārta — troubled; janānām — for persons; narma — of joy; daḥ — the giver; yarhi — when; kūjita — has vibrated; veṇuḥ — His flute; vrṇdaśaḥ — in groups; vraja — kept in the pasture; vṛṣāḥ — the bulls; mṛga — the deer; gāvaḥ — and the cows; veṇu — of the flute; vādya — by the playing; hṛta — stolen away; cetasaḥ — their minds; ārāt — at a distance; danta — by their teeth; daṣṭa — bit; kavalāḥ — whose mouthfuls; dhṛta — holding up; karṇāḥ — their ears; nidritāḥ — asleep; likhita — drawn; citram — an illustration; iva — as if; āsan — they were.
Translation
O girls! This son of Nanda, who gives joy to the distressed, bears steady lightning on His chest and has a smile like a jeweled necklace. Now please hear something wonderful. When He vibrates His flute, Vraja’s bulls, deer and cows, standing in groups at a great distance, are all captivated by the sound, and they stop chewing the food in their mouths and cock their ears. Stunned, they appear as if asleep, or like figures in a painting.
Purport
The word sthira-vidyut, “steady lightning,” refers to the goddess of fortune, who resides on the chest of the Supreme Lord. When the animals of Vṛndāvana hear the sound of the flute, they become stunned in ecstasy, and thus they stop chewing their food and cannot swallow it. The gopīs, in separation from Kṛṣṇa, marvel at the extraordinary effect of the Lord’s flute-playing.
Śrīla Śrīdhara Svāmī gives the following explanation of the compound word hāra-hāsa, which compares Lord Kṛṣṇa’s smile to a necklace: “The word can mean ‘He whose smile is brilliantly clear like a jeweled necklace’ or ‘He whose smile is reflected from His jeweled necklaces,’ because while Kṛṣṇa plays the flute He bends His head down and smiles. The word can also mean ‘He whose smile, like a jeweled necklace, casts its effulgence upon His chest’ or ‘He whose necklaces shine brilliantly, just like a smile.’”
Devanagari
बर्हिणस्तबकधातुपलाशै-
र्बद्धमल्लपरिबर्हविडम्ब: ।
कर्हिचित् सबल आलि स गोपै-
र्गा: समाह्वयति यत्र मुकुन्द: ॥ ६ ॥
तर्हि भग्नगतय: सरितो वै
तत्पदाम्बुजरजोऽनिलनीतम् ।
स्पृहयतीर्वयमिवाबहुपुण्या:
प्रेमवेपितभुजा: स्तिमिताप: ॥ ७ ॥
र्बद्धमल्लपरिबर्हविडम्ब: ।
कर्हिचित् सबल आलि स गोपै-
र्गा: समाह्वयति यत्र मुकुन्द: ॥ ६ ॥
तर्हि भग्नगतय: सरितो वै
तत्पदाम्बुजरजोऽनिलनीतम् ।
स्पृहयतीर्वयमिवाबहुपुण्या:
प्रेमवेपितभुजा: स्तिमिताप: ॥ ७ ॥
Verse text
barhiṇa-stabaka-dhātu-palāśair
baddha-malla-paribarha-viḍambaḥ
karhicit sa-bala āli sa gopair
gāḥ samāhvayati yatra mukundaḥ
baddha-malla-paribarha-viḍambaḥ
karhicit sa-bala āli sa gopair
gāḥ samāhvayati yatra mukundaḥ
tarhi bhagna-gatayaḥ sarito vai
tat-padāmbuja-rajo ’nila-nītam
spṛhayatīr vayam ivābahu-puṇyāḥ
prema-vepita-bhujāḥ stimitāpaḥ
tat-padāmbuja-rajo ’nila-nītam
spṛhayatīr vayam ivābahu-puṇyāḥ
prema-vepita-bhujāḥ stimitāpaḥ
Synonyms
barhiṇa — of peacocks; stabaka — with the tail feathers; dhātu — with colored minerals; palāśaiḥ — and with leaves; baddha — arranged; malla — of a wrestler; paribarha — the apparel; viḍambaḥ — imitating; karhicit — sometimes; sa-balaḥ — with Balarāma; āli — my dear gopī; saḥ — He; gopaiḥ — with the cowherd boys; gāḥ — the cows; samāhvayati — calls; yatra — when; mukundaḥ — Lord Mukunda; tarhi — then; bhagna — broken; gatayaḥ — their movement; saritaḥ — the rivers; vai — indeed; tat — His; pada-ambuja — of the lotus feet; rajaḥ — the dust; anila — by the wind; nītam — brought; spṛhayatīḥ — hankering for; vayam — ourselves; iva — just like; abahu — slight; puṇyāḥ — the piety to whose credit; prema — due to love of God; vepita — trembling; bhujāḥ — whose arms (waves); stimita — stopped; āpaḥ — whose water.
Translation
My dear gopī, sometimes Mukunda imitates the appearance of a wrestler by decorating Himself with leaves, peacock feathers and colored minerals. Then, in the company of Balarāma and the cowherd boys, He plays His flute to call the cows. At that time the rivers stop flowing, their water stunned by the ecstasy they feel as they eagerly wait for the wind to bring them the dust of His lotus feet. But like us, the rivers are not very pious, and thus they merely wait with their arms trembling out of love.
Purport
The gopīs state here that the sound of Kṛṣṇa’s flute causes even inanimate objects like rivers to become conscious and then stunned in ecstasy. Just as the gopīs could not always be in Kṛṣṇa’s physical association, the rivers could not come to the Lord’s lotus feet. Although they desired the Lord, their movement was checked by ecstasy, and their “arms,” their waves, trembled with love of Godhead.
Devanagari
अनुचरै: समनुवर्णितवीर्य
आदिपूरुष इवाचलभूति: ।
वनचरो गिरितटेषु चरन्ती-
र्वेणुनाह्वयति गा: स यदा हि ॥ ८ ॥
वनलतास्तरव आत्मनि विष्णुं
व्यञ्जयन्त्य इव पुष्पफलाढ्या: ।
प्रणतभारविटपा मधुधारा:
प्रेमहृष्टतनवो ववृषु: स्म ॥ ९ ॥
दर्शनीयतिलको वनमाला-
दिव्यगन्धतुलसीमधुमत्तै: ।
अलिकुलैरलघुगीतामभीष्ट-
माद्रियन् यर्हि सन्धितवेणु: ॥ १० ॥
सरसि सारसहंसविहङ्गा-
श्चारुगीताहृतचेतस एत्य ।
हरिमुपासत ते यतचित्ता
हन्त मीलितदृशो धृतमौना: ॥ ११ ॥
आदिपूरुष इवाचलभूति: ।
वनचरो गिरितटेषु चरन्ती-
र्वेणुनाह्वयति गा: स यदा हि ॥ ८ ॥
वनलतास्तरव आत्मनि विष्णुं
व्यञ्जयन्त्य इव पुष्पफलाढ्या: ।
प्रणतभारविटपा मधुधारा:
प्रेमहृष्टतनवो ववृषु: स्म ॥ ९ ॥
दर्शनीयतिलको वनमाला-
दिव्यगन्धतुलसीमधुमत्तै: ।
अलिकुलैरलघुगीतामभीष्ट-
माद्रियन् यर्हि सन्धितवेणु: ॥ १० ॥
सरसि सारसहंसविहङ्गा-
श्चारुगीताहृतचेतस एत्य ।
हरिमुपासत ते यतचित्ता
हन्त मीलितदृशो धृतमौना: ॥ ११ ॥
Verse text
anucaraiḥ samanuvarṇita-vīrya
ādi-pūruṣa ivācala-bhūtiḥ
vana-caro giri-taṭeṣu carantīr
veṇunāhvayati gāḥ sa yadā hi
ādi-pūruṣa ivācala-bhūtiḥ
vana-caro giri-taṭeṣu carantīr
veṇunāhvayati gāḥ sa yadā hi
vana-latās tarava ātmani viṣṇuṁ
vyañjayantya iva puṣpa-phalāḍhyāḥ
praṇata-bhāra-viṭapā madhu-dhārāḥ
prema-hṛṣṭa-tanavo vavṛṣuḥ sma
vyañjayantya iva puṣpa-phalāḍhyāḥ
praṇata-bhāra-viṭapā madhu-dhārāḥ
prema-hṛṣṭa-tanavo vavṛṣuḥ sma
darśanīya-tilako vana-mālā-
divya-gandha-tulasī-madhu-mattaiḥ
ali-kulair alaghu gītām abhīṣṭam
ādriyan yarhi sandhita-veṇuḥ
divya-gandha-tulasī-madhu-mattaiḥ
ali-kulair alaghu gītām abhīṣṭam
ādriyan yarhi sandhita-veṇuḥ
sarasi sārasa-haṁsa-vihaṅgāś
cāru-gītā-hṛta-cetasa etya
harim upāsata te yata-cittā
hanta mīlita-dṛśo dhṛta-maunāḥ
cāru-gītā-hṛta-cetasa etya
harim upāsata te yata-cittā
hanta mīlita-dṛśo dhṛta-maunāḥ
Synonyms
anucaraiḥ — by His companions; samanuvarṇita — being elaborately described; vīryaḥ — whose prowess; ādi-pūruṣaḥ — the original Personality of Godhead; iva — as if; acala — unchanging; bhūtiḥ — whose opulences; vana — in the forest; caraḥ — moving about; giri — of the mountains; taṭesu — on the sides; carantīḥ — who are grazing; veṇunā — with His flute; āhvayati — calls; gāḥ — the cows; saḥ — He; yadā — when; hi — indeed; vana-latāḥ — the forest creepers; taravaḥ — and the trees; ātmani — within themselves; viṣṇum — the Supreme Lord, Viṣṇu; vyañjayantyaḥ — revealing; iva — as if; puṣpa — with flowers; phala — and fruits; āḍhyāḥ — richly endowed; praṇata — bowed down; bhāra — because of the weight; viṭapāḥ — whose branches; madhu — of sweet sap; dhārāḥ — torrents; prema — out of ecstatic love; hṛṣṭa — hairs standing on end; tanavaḥ — on whose bodies (trunks); vavṛṣuḥ sma — they have rained down; darśanīya — of persons who are attractive to see; tilakaḥ — the most excellent; vana-mālā — upon His garland made of forest flowers; divya — divine; gandha — whose fragrance; tulasī — of the tulasī flowers; madhu — by the honeylike sweetness; mattaiḥ — intoxicated; ali — of bees; kulaiḥ — by the swarms; alaghu — strong; gītam — the singing; abhīṣṭam — desirable; ādriyan — thankfully acknowledging; yarhi — when; sandhita — placed; veṇuḥ — His flute; sarasi — in the lake; sārasa — the cranes; haṁsa — swans; vihaṅgāḥ — and other birds; cāru — charming; gīta — by the song (of His flute); hṛta — taken away; cetasaḥ — whose minds; etya — coming forward; harim — Lord Kṛṣṇa; upāsata — worship; te — they; yata — under control; cittāḥ — whose minds; hanta — ah; mīlita — closed; dṛśaḥ — their eyes; dhṛta — maintaining; maunāḥ — silence.
Translation
Kṛṣṇa 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 His inexhaustible opulences. When the cows wander onto the mountainsides and Kṛṣṇa calls out to them with the sound of His flute, the trees and creepers in the forest respond by becoming so luxuriant with fruits and flowers that they seem to be manifesting Lord Viṣṇu within their hearts. As their branches bend low with the weight, the filaments on their trunks and vines stand erect out of the ecstasy of love of God, and both the trees and the creepers pour down a rain of sweet sap.
Maddened by the divine, honeylike aroma of the tulasī flowers on the garland Kṛṣṇa wears, swarms of bees sing loudly for Him, and that most beautiful of all persons thankfully acknowledges and acclaims their song by taking His flute to His lips and playing it. The charming flute-song then steals away the minds of the cranes, swans and other lake-dwelling birds. Indeed they approach Kṛṣṇa, close their eyes and, maintaining strict silence, worship Him by fixing their consciousness upon Him in deep meditation.
Purport
Śrīla Viśvanātha Cakravartī Ṭhākura has made several illuminating comments on these verses. He gives the analogy that just as when householder Vaiṣṇavas hear a saṅkīrtana party approaching they become ecstatic and offer obeisances, so the trees and creepers in Vṛndāvana became ecstatic when they heard Kṛṣṇa’s flute and bowed low with their branches and vines. The word darśanīya-tilaka in text 10 indicates not only that the Lord is “the most excellent (to see),” but also that He decorated Himself with attractive reddish tilaka taken from the mineral-rich earth of Vṛndāvana forest.
Śrīla Viśvanātha Cakravartī also points out that tulasī, although exalted in many ways, is not normally considered an especially fragrant plant. However, early in the morning tulasī emits a transcendental fragrance that ordinary people cannot perceive but that transcendental personalities fully appreciate. The bees who are privileged to swarm about the flower garlands worn by the Supreme Personality of Godhead certainly appreciate this fragrance, and Śrīla Viśvanātha Cakravartī quotes from the Bhāgavatam (3.15.19) to the effect that the most fragrant plants in Vaikuṇṭha also appreciate the special qualifications of Tulasī-devī.
The word sandhita-veṇuḥ in text 10 indicates that Lord Kṛṣṇa placed His flute firmly upon His lips. And the melody emanating from that flute is certainly the most enchanting of sounds, as the gopīs describe in this chapter.
Devanagari
सहबल: स्रगवतंसविलास:
सानुषु क्षितिभृतो व्रजदेव्य: ।
हर्षयन् यर्हि वेणुरवेण
जातहर्ष उपरम्भति विश्वम् ॥ १२ ॥
महदतिक्रमणशङ्कितचेता
मन्दमन्दमनुगर्जति मेघ: ।
सुहृदमभ्यवर्षत् सुमनोभि-
श्छायया च विदधत् प्रतपत्रम् ॥ १३ ॥
सानुषु क्षितिभृतो व्रजदेव्य: ।
हर्षयन् यर्हि वेणुरवेण
जातहर्ष उपरम्भति विश्वम् ॥ १२ ॥
महदतिक्रमणशङ्कितचेता
मन्दमन्दमनुगर्जति मेघ: ।
सुहृदमभ्यवर्षत् सुमनोभि-
श्छायया च विदधत् प्रतपत्रम् ॥ १३ ॥
Verse text
saha-balaḥ srag-avataṁsa-vilāsaḥ
sānuṣu kṣiti-bhṛto vraja-devyaḥ
harṣayan yarhi veṇu-raveṇa
jāta-harṣa uparambhati viśvam
sānuṣu kṣiti-bhṛto vraja-devyaḥ
harṣayan yarhi veṇu-raveṇa
jāta-harṣa uparambhati viśvam
mahad-atikramaṇa-śaṅkita-cetā
manda-mandam anugarjati meghaḥ
suhṛdam abhyavarṣat sumanobhiś
chāyayā ca vidadhat pratapatram
manda-mandam anugarjati meghaḥ
suhṛdam abhyavarṣat sumanobhiś
chāyayā ca vidadhat pratapatram
Synonyms
saha-balaḥ — together with Balarāma; srak — a flower garland; avataṁsa — as the ornament on His head; vilāsaḥ — playfully wearing; sānuṣu — on the sides; kṣiti-bhṛtaḥ — of a mountain; vraja-devyaḥ — O goddesses of Vṛndāvana (gopīs); harṣayan — creating joy; yarhi — when; veṇu — of His flute; raveṇa — by the resounding vibration; jāta-harṣaḥ — becoming joyful; uparambhati — causes to relish; viśvam — the entire world; mahat — against a great personality; atikramaṇa — of a transgression; śaṅkita — fearful; cetāḥ — in his mind; manda-mandam — very gently; anugarjati — thunders in response; meghaḥ — the cloud; suhṛdam — upon his friend; abhyavarṣat — has rained down; sumanobhiḥ — with flowers; chāyayā — with his shade; ca — and; vidadhat — providing; pratapatram — an umbrella as protection from the sun.
Translation
O goddesses of Vraja, when Kṛṣṇa is enjoying Himself with Balarāma on the mountain slopes, playfully wearing a flower garland on the top of His head, He engladdens all with the resonant vibrations of His flute. Thus He delights the entire world. At that time the nearby cloud, afraid of offending a great personality, thunders very gently in accompaniment. The cloud showers flowers onto his dear friend Kṛṣṇa and shades Him from the sun like an umbrella.
Devanagari
विविधगोपचरणेषु विदग्धो
वेणुवाद्य उरुधा निजशिक्षा: ।
तव सुत: सति यदाधरबिम्बे
दत्तवेणुरनयत् स्वरजाती: ॥ १४ ॥
सवनशस्तदुपधार्य सुरेशा:
शक्रशर्वपरमेष्ठिपुरोगा: ।
कवय आनतकन्धरचित्ता:
कश्मलं ययुरनिश्चिततत्त्वा: ॥ १५ ॥
वेणुवाद्य उरुधा निजशिक्षा: ।
तव सुत: सति यदाधरबिम्बे
दत्तवेणुरनयत् स्वरजाती: ॥ १४ ॥
सवनशस्तदुपधार्य सुरेशा:
शक्रशर्वपरमेष्ठिपुरोगा: ।
कवय आनतकन्धरचित्ता:
कश्मलं ययुरनिश्चिततत्त्वा: ॥ १५ ॥
Verse text
vividha-gopa-caraṇeṣu vidagdho
veṇu-vādya urudhā nija-śikṣāḥ
tava sutaḥ sati yadādhara-bimbe
datta-veṇur anayat svara-jātīḥ
veṇu-vādya urudhā nija-śikṣāḥ
tava sutaḥ sati yadādhara-bimbe
datta-veṇur anayat svara-jātīḥ
savanaśas tad upadhārya sureśāḥ
śakra-śarva-parameṣṭhi-purogāḥ
kavaya ānata-kandhara-cittāḥ
kaśmalaṁ yayur aniścita-tattvāḥ
śakra-śarva-parameṣṭhi-purogāḥ
kavaya ānata-kandhara-cittāḥ
kaśmalaṁ yayur aniścita-tattvāḥ
Synonyms
vividha — various; gopa — of cowherds; caraṇeṣu — in the activities; vidagdhaḥ — expert; veṇu — of the flute; vādye — in the matter of playing; urudhā — manifold; nija — of His own production; śikṣāḥ — whose teachings; tava — your; sutaḥ — son; sati — O pious lady (Yaśodā); yadā — when; adhara — upon His lips; bimbe — which are like red bimba fruits; datta — placing; veṇuḥ — His flute; anayat — He brought forth; svara — of musical sound; jātīḥ — the harmonic tones; savanaśaḥ — with a variety of low, high and middle pitches; tat — that; upadhārya — hearing; sura-īśāḥ — the principal demigods; śakra — Indra; śarva — Śiva; parameṣṭhi — and Brahmā; puraḥ-gāḥ — headed by; kavayaḥ — learned scholars; ānata — bowed; kandhara — their necks; cittāḥ — and minds; kaśmalam yayuḥ — they became bewildered; aniścita — unable to ascertain; tattvāḥ — its essence.
Translation
O pious mother Yaśodā, your son, who is expert in all the arts of herding cows, has invented many new styles of flute-playing. When He takes His flute to His bimba-red lips and sends forth the tones of the harmonic scale in variegated melodies, Brahmā, Śiva, Indra and other chief demigods become confused upon hearing the sound. Although they are the most learned authorities, they cannot ascertain the essence of that music, and thus they bow down their heads and hearts.
Purport
The words tava sutaḥ sati, “your son, O chaste lady,” clearly indicate that at this point mother Yaśodā is among the young gopīs as they earnestly describe Lord Kṛṣṇa’s glories. According to Śrīla Viśvanātha Cakravartī, among the demigods led by Śakra (Lord Indra) were Upendra, Agni and Yamarāja, among those led by Śarva (Lord Śiva) were Kātyāyanī, Skanda and Gaṇeśa, and among those led by Parameṣṭhī (Lord Brahmā) were the four Kumāras and Nārada. Thus the best collective intelligence in the universe could not definitively analyze the enchanting musical arrangements of the Supreme Lord.
Devanagari
निजपदाब्जदलैर्ध्वजवज्र-
नीरजाङ्कुशविचित्रललामै: ।
व्रजभुव: शमयन् खुरतोदं
वर्ष्मधुर्यगतिरीडितवेणु: ॥ १६ ॥
व्रजति तेन वयं सविलास-
वीक्षणार्पितमनोभववेगा: ।
कुजगतिं गमिता न विदाम:
कश्मलेन कवरं वसनं वा ॥ १७ ॥
नीरजाङ्कुशविचित्रललामै: ।
व्रजभुव: शमयन् खुरतोदं
वर्ष्मधुर्यगतिरीडितवेणु: ॥ १६ ॥
व्रजति तेन वयं सविलास-
वीक्षणार्पितमनोभववेगा: ।
कुजगतिं गमिता न विदाम:
कश्मलेन कवरं वसनं वा ॥ १७ ॥
Verse text
nija-padābja-dalair dhvaja-vajra
nīrajāṅkuśa-vicitra-lalāmaiḥ
vraja-bhuvaḥ śamayan khura-todaṁ
varṣma-dhurya-gatir īḍita-veṇuḥ
nīrajāṅkuśa-vicitra-lalāmaiḥ
vraja-bhuvaḥ śamayan khura-todaṁ
varṣma-dhurya-gatir īḍita-veṇuḥ
vrajati tena vayaṁ sa-vilāsa
vīkṣaṇārpita-manobhava-vegāḥ
kuja-gatiṁ gamitā na vidāmaḥ
kaśmalena kavaraṁ vasanaṁ vā
vīkṣaṇārpita-manobhava-vegāḥ
kuja-gatiṁ gamitā na vidāmaḥ
kaśmalena kavaraṁ vasanaṁ vā
Synonyms
nija — His own; pada-abja — of the lotus feet; dalaiḥ — like flower petals; dhvaja — of a flag; vajra — thunderbolt; nīraja — lotus; aṅkuśa — and elephant goad; vicitra — variegated; lalāmaiḥ — by the markings; vraja — of Vraja; bhuvaḥ — of the ground; śamayan — relieving; khura — from the hooves (of the cows); todam — the pain; varṣma — with His body; dhurya — like an elephant’s; gatiḥ — whose movement; īḍita — extolled; veṇuḥ — whose flute; vrajati — He walks; tena — by that; vayam — we; savilāsa — playful; vīkṣaṇa — with His glances; arpita — bestowed; manaḥ-bhava — of lust; vegāḥ — whose agitation; kuja — like that of trees; gatim — whose movement (i.e., complete lack of movement); gamitāḥ — attaining; na vidāmaḥ — we do not recognize; kaśmaleṇa — because of our bewilderment; kavaram — the braids of our hair; vasanam — our dress; vā — or.
Translation
As Kṛṣṇa strolls through Vraja with His lotus-petal-like feet, marking the ground with the distinctive emblems of flag, thunderbolt, lotus and elephant goad, He relieves the distress the ground feels from the cows’ hooves. As He plays His renowned flute, His body moves with the grace of an elephant. Thus we gopīs, who become agitated by Cupid when Kṛṣṇa playfully glances at us, stand as still as trees, unaware that our hair and garments are slackening.
Purport
Here mother Yaśodā is no longer in the company of the gopīs, who are confidentially describing their conjugal attraction to Śrī Kṛṣṇa. It is clear from the comments of Jīva Gosvāmī and other ācāryas that the statements in this chapter were made at various times and places. This is natural, since the gopīs were always absorbed in thoughts of Śrī Kṛṣṇa, day and night.
Devanagari
मणिधर: क्वचिदागणयन् गा
मालया दयितगन्धतुलस्या: ।
प्रणयिनोऽनुचरस्य कदांसे
प्रक्षिपन् भुजमगायत यत्र ॥ १८ ॥
क्वणितवेणुरववञ्चितचित्ता:
कृष्णमन्वसत कृष्णगृहिण्य: ।
गुणगणार्णमनुगत्य हरिण्यो
गोपिका इव विमुक्तगृहाशा: ॥ १९ ॥
मालया दयितगन्धतुलस्या: ।
प्रणयिनोऽनुचरस्य कदांसे
प्रक्षिपन् भुजमगायत यत्र ॥ १८ ॥
क्वणितवेणुरववञ्चितचित्ता:
कृष्णमन्वसत कृष्णगृहिण्य: ।
गुणगणार्णमनुगत्य हरिण्यो
गोपिका इव विमुक्तगृहाशा: ॥ १९ ॥
Verse text
maṇi-dharaḥ kvacid āgaṇayan gā
mālayā dayita-gandha-tulasyāḥ
praṇayino ’nucarasya kadāṁse
prakṣipan bhujam agāyata yatra
mālayā dayita-gandha-tulasyāḥ
praṇayino ’nucarasya kadāṁse
prakṣipan bhujam agāyata yatra
kvaṇita-veṇu-rava-vañcita-cittāḥ
kṛṣṇam anvasata kṛṣṇa-gṛhiṇyaḥ
guṇa-gaṇārṇam anugatya hariṇyo
gopikā iva vimukta-gṛhāśāḥ
kṛṣṇam anvasata kṛṣṇa-gṛhiṇyaḥ
guṇa-gaṇārṇam anugatya hariṇyo
gopikā iva vimukta-gṛhāśāḥ
Synonyms
maṇi — (a string of) gems; dharaḥ — holding; kvacit — somewhere; āgaṇayan — counting; gāḥ — the cows; mālayā — with a flower garland; dayita — of His beloved; gandha — having the fragrance; tulasyāḥ — the tulasī flowers upon which; praṇayinaḥ — loving; anucarasya — of a companion; kadā — at some time; aṁse — on the shoulder; prakṣipan — throwing; bhujam — His arm; agāyata — He sang; yatra — when; kvaṇita — vibrated; veṇu — of His flute; rava — by the sound; vañcita — stolen; cittāḥ — their hearts; kṛṣṇam — Kṛṣṇa; anvasata — they sat down beside; kṛṣṇa — of the black deer; gṛhiṇyaḥ — the wives; guṇa-gaṇa — of all transcendental qualities; arṇam — the ocean; anugatya — approaching; hariṇyaḥ — the does; gopikāḥ — the gopīs; iva — just like; vimukta — having given up; gṛha — for home and family; āśāḥ — their hopes.
Translation
Now Kṛṣṇa is standing somewhere counting His cows on a string of gems. He wears a garland of tulasī flowers that bear the fragrance of His beloved, and He has thrown His arm over the shoulder of an affectionate cowherd boyfriend. As Kṛṣṇa plays His flute and sings, the music attracts the black deer’s wives, who approach that ocean of transcendental qualities and sit down beside Him. Just like us cowherd girls, they have given up all hope for happiness in family life.
Purport
Śrīla Jīva Gosvāmī explains that in the afternoon Śrī Kṛṣṇa dressed Himself in new clothing and then went out to call the cows home. Śrīla Viśvanātha Cakravartī gives the following information about the transcendental cows of Vṛndāvana: “For each of the four colors of cows — white, red, black and yellow — there are twenty-five subdivisions, making a total of one hundred colors. And such qualities as being colored like sandalwood-pulp tilaka [speckled] or having a head shaped like a mṛdaṅga drum create eight further groups. To count these 108 groups of cows, distinguished by color and form, Kṛṣṇa is using a string of 108 jewel-beads.…
“Thus when Kṛṣṇa calls out ‘Hey Dhavalī [the name of a white cow],’ a whole group of white cows come forward, and when He calls ‘Haṁsī, Candanī, Gaṅgā, Muktā‘ and so on, the twenty-four other groups of white cows come. The reddish cows are called Aruṇī, Kuṅkuma, Sarasvatī, etc., the blackish ones Śyāmalā, Dhūmalā, Yamunā, etc., and the yellowish ones Pītā, Piṅgalā, Haritālikā, etc. Those in the group with tilaka marks on their foreheads are called Citritā, Citra-tilakā, Dīrgha-tilakā and Tiryak-tilakā, and there are groups known as Mṛdaṅga-mukhī [mṛdaṅga-head], Siṁha-mukhī [lion-head] and so on.
“Thus being called by name, the cows are coming forward, and Kṛṣṇa, thinking that when it is time to bring them back from the forest none should be forgotten, is counting them on His jewel-beads.”
Devanagari
कुन्ददामकृतकौतुकवेषो
गोपगोधनवृतो यमुनायाम् ।
नन्दसूनुरनघे तव वत्सो
नर्मद: प्रणयिणां विजहार ॥ २० ॥
मन्दवायुरुपवात्यनुकूलं
मानयन् मलयजस्पर्शेन ।
वन्दिनस्तमुपदेवगणा ये
वाद्यगीतबलिभि: परिवव्रु: ॥ २१ ॥
गोपगोधनवृतो यमुनायाम् ।
नन्दसूनुरनघे तव वत्सो
नर्मद: प्रणयिणां विजहार ॥ २० ॥
मन्दवायुरुपवात्यनुकूलं
मानयन् मलयजस्पर्शेन ।
वन्दिनस्तमुपदेवगणा ये
वाद्यगीतबलिभि: परिवव्रु: ॥ २१ ॥
Verse text
kunda-dāma-kṛta-kautuka-veṣo
gopa-godhana-vṛto yamunāyām
nanda-sūnur anaghe tava vatso
narma-daḥ praṇayiṇāṁ vijahāra
gopa-godhana-vṛto yamunāyām
nanda-sūnur anaghe tava vatso
narma-daḥ praṇayiṇāṁ vijahāra
manda-vāyur upavāty anukūlaṁ
mānayan malayaja-sparśena
vandinas tam upadeva-gaṇā ye
vādya-gīta-balibhiḥ parivavruḥ
mānayan malayaja-sparśena
vandinas tam upadeva-gaṇā ye
vādya-gīta-balibhiḥ parivavruḥ
Synonyms
kunda — of jasmine flowers; dāma — with a garland; kṛta — made; kautuka — playful; veṣaḥ — His array; gopa — by the cowherd boys; godhana — and the cows; vṛtaḥ — surrounded; yamunāyām — along the Yamunā; nanda-sūnuḥ — the son of Nanda Mahārāja; anaghe — O sinless lady; tava — your; vatsaḥ — darling child; narma-daḥ — amusing; praṇayiṇām — His dear companions; vijahāra — He has played; manda — gentle; vāyuḥ — the wind; upavāti — blows; anukūlam — favorably; mānayan — showing honor; malaya-ja — of (the fragrance of) sandalwood; sparśena — the touch; vandinaḥ — those who offer praise; tam — Him; upadeva — of the minor demigods; gaṇāḥ — members of the various categories; ye — who; vādya — with instrumental music; gīta — singing; balibhiḥ — and presentation of gifts; parivavruḥ — they have encircled.
Translation
O sinless Yaśodā, your darling child, the son of Mahārāja Nanda, has festively enhanced His attire with a jasmine garland, and He is now playing along the Yamunā in the company of the cows and cowherd boys, amusing His dear companions. The gentle breeze honors Him with its soothing fragrance of sandalwood, while the various Upadevas, standing on all sides like panegyrists, offer their music, singing and gifts of tribute.
Purport
Śrīla Jīva Gosvāmī explains that the gopīs are again in the courtyard of mother Yaśodā, the queen of Vraja. They are trying to encourage her by describing Kṛṣṇa’s return to Vṛndāvana after He has spent the day herding cows and playing.
Śrīla Viśvanātha Cakravartī comments that the Upadevas, the minor demigods mentioned here, include the Gandharvas, who are famous for their celestial music and dancing.
Devanagari
वत्सलो व्रजगवां यदगध्रो
वन्द्यमानचरण: पथि वृद्धै: ।
कृत्स्नगोधनमुपोह्य दिनान्ते
गीतवेणुरनुगेडितकीर्ति: ॥ २२ ॥
उत्सवं श्रमरुचापि दृशीना-
मुन्नयन् खुररजश्छुरितस्रक् ।
दित्सयैति सुहृदासिष एष
देवकीजठरभूरुडुराज: ॥ २३ ॥
वन्द्यमानचरण: पथि वृद्धै: ।
कृत्स्नगोधनमुपोह्य दिनान्ते
गीतवेणुरनुगेडितकीर्ति: ॥ २२ ॥
उत्सवं श्रमरुचापि दृशीना-
मुन्नयन् खुररजश्छुरितस्रक् ।
दित्सयैति सुहृदासिष एष
देवकीजठरभूरुडुराज: ॥ २३ ॥
Verse text
vatsalo vraja-gavāṁ yad aga-dhro
vandyamāna-caraṇaḥ pathi vṛddhaiḥ
kṛtsna-go-dhanam upohya dinānte
gīta-veṇur anugeḍita-kīrtiḥ
vandyamāna-caraṇaḥ pathi vṛddhaiḥ
kṛtsna-go-dhanam upohya dinānte
gīta-veṇur anugeḍita-kīrtiḥ
utsavaṁ śrama-rucāpi dṛśīnām
unnayan khura-rajaś-churita-srak
ditsayaiti suhṛd-āsiṣa eṣa
devakī-jaṭhara-bhūr uḍu-rājaḥ
unnayan khura-rajaś-churita-srak
ditsayaiti suhṛd-āsiṣa eṣa
devakī-jaṭhara-bhūr uḍu-rājaḥ
Synonyms
vatsalaḥ — affectionate; vraja-gavām — to the cows of Vraja; yat — because; aga — of the mountain; dhraḥ — the lifter; vandyamāna — being worshiped; caraṇaḥ — His feet; pathi — along the path; vṛddhaiḥ — by the exalted demigods; kṛtsna — entire; go-dhanam — the herd of cows; upohya — collecting; dina — of the day; ante — at the end; gītā-veṇuḥ — playing His flute; anuga — by His companions; īḍita — praised; kīrtiḥ — His glories; utsavam — a festival; śrama — of fatigue; rucā — by His coloring; api — even; dṛśīnām — for the eyes; unnayan — raising; khura — from the hooves (of the cows); rajaḥ — with the dust; churita — powdered; srak — His garland; ditsayā — with the desire; eti — He is coming; suhṛt — to His friends; āśiṣaḥ — their desires; eṣaḥ — this; devakī — of mother Yaśodā; jaṭhara — from the womb; bhūḥ — born; uḍu-rājaḥ — moon.
Translation
Out of great affection for the cows of Vraja, Kṛṣṇa became the lifter of Govardhana Hill. At the end of the day, having rounded up all His own cows, He plays a song on His flute, while exalted demigods standing along the path worship His lotus feet and the cowherd boys accompanying Him chant His glories. His garland is powdered by the dust raised by the cows’ hooves, and His beauty, enhanced by His fatigue, creates an ecstatic festival for everyone’s eyes. Eager to fulfill His friends’ desires, Kṛṣṇa is the moon arisen from the womb of mother Yaśodā.
Purport
According to the ācāryas, at this point the gopīs climbed into the watchtowers of Vṛndāvana’s houses so they could see Kṛṣṇa as soon as possible when He returned home. Mother Yaśodā was very anxious for her son to come back, and therefore she had the tallest of the beautiful young gopīs climb up to see when He would arrive. It is implied here that Kṛṣṇa was somewhat delayed on the way home because His lotus feet were being worshiped by great demigods along the path.
Devanagari
मदविघूर्णितलोचन ईषत्-
मानद: स्वसुहृदां वनमाली ।
बदरपाण्डुवदनो मृदुगण्डं
मण्डयन् कनककुण्डललक्ष्म्या ॥ २४ ॥
यदुपतिर्द्विरदराजविहारो
यामिनीपतिरिवैष दिनान्ते ।
मुदितवक्त्र उपयाति दुरन्तं
मोचयन् व्रजगवां दिनतापम् ॥ २५ ॥
मानद: स्वसुहृदां वनमाली ।
बदरपाण्डुवदनो मृदुगण्डं
मण्डयन् कनककुण्डललक्ष्म्या ॥ २४ ॥
यदुपतिर्द्विरदराजविहारो
यामिनीपतिरिवैष दिनान्ते ।
मुदितवक्त्र उपयाति दुरन्तं
मोचयन् व्रजगवां दिनतापम् ॥ २५ ॥
Verse text
mada-vighūrṇita-locana īṣat
māna-daḥ sva-suhṛdāṁ vana-mālī
badara-pāṇḍu-vadano mṛdu-gaṇḍaṁ
maṇḍayan kanaka-kuṇḍala-lakṣmyā
māna-daḥ sva-suhṛdāṁ vana-mālī
badara-pāṇḍu-vadano mṛdu-gaṇḍaṁ
maṇḍayan kanaka-kuṇḍala-lakṣmyā
yadu-patir dvirada-rāja-vihāro
yāminī-patir ivaiṣa dinānte
mudita-vaktra upayāti durantaṁ
mocayan vraja-gavāṁ dina-tāpam
yāminī-patir ivaiṣa dinānte
mudita-vaktra upayāti durantaṁ
mocayan vraja-gavāṁ dina-tāpam
Synonyms
mada — by intoxication; vighūrṇita — rolling; locanaḥ — His eyes; īṣat — slightly; māna-daḥ — showing honor; sva-suhṛdām — to His well-wishing friends; vana-mālī — wearing a garland of forest flowers; badara — like a badara fruit; pāṇḍu — whitish; vadanaḥ — His face; mṛdu — soft; gaṇḍam — His cheeks; maṇḍayan — ornamenting; kanaka — golden; kuṇḍala — of His earrings; lakṣmyā — with the beauty; yadu-patiḥ — the Lord of the Yadu dynasty; dvirada-rāja — like a kingly elephant; vihāraḥ — His sporting; yāminī-patiḥ — the lord of the night (the moon); iva — like; eṣaḥ — He; dina-ante — at the end of the day; mudita — joyful; vaktraḥ — His face; upayāti — is coming; durantam — insurmountable; mocayan — driving away; vraja — of Vraja; gavām — of the cows, or of those who are to be shown mercy; dina — of the daytime; tāpam — the painful heat.
Translation
As Kṛṣṇa respectfully greets His well-wishing friends, His eyes roll slightly as if from intoxication. He wears a flower garland, and the beauty of His soft cheeks is accentuated by the brilliance of His golden earrings and the whiteness of His face, which has the color of a badara berry. With His cheerful face resembling the moon, lord of the night, the Lord of the Yadus moves with the grace of a regal elephant. Thus He returns in the evening, delivering the cows of Vraja from the heat of the day.
Purport
The word gavām is constructed from the Sanskrit word go, which means “cow” or “senses.” Thus Śrī Kṛṣṇa, by coming back to the village of Vraja, relieved the inhabitants of Vṛndāvana from the distress their eyes and other senses felt during the day because of being separated from direct contact with Him.
Devanagari
श्रीशुक उवाच
एवं व्रजस्त्रियो राजन् कृष्णलीलानुगायती: ।
रेमिरेऽह:सु तच्चित्तास्तन्मनस्का महोदया: ॥ २६ ॥
एवं व्रजस्त्रियो राजन् कृष्णलीलानुगायती: ।
रेमिरेऽह:सु तच्चित्तास्तन्मनस्का महोदया: ॥ २६ ॥
Verse text
śrī-śuka uvāca
evaṁ vraja-striyo rājan
kṛṣṇa-līlānugāyatīḥ
remire ’haḥsu tac-cittās
tan-manaskā mahodayāḥ
evaṁ vraja-striyo rājan
kṛṣṇa-līlānugāyatīḥ
remire ’haḥsu tac-cittās
tan-manaskā mahodayāḥ
Synonyms
śrī-śukaḥ uvāca — Śukadeva Gosvāmī said; evam — thus; vraja-striyaḥ — the women of Vraja; rājan — O King; kṛṣṇa-līlā — about the pastimes of Kṛṣṇa; anugāyatīḥ — continuously chanting; remire — they enjoyed; ahaḥsu — during the days; tat-cittāḥ — their hearts absorbed in Him; tat-manaskāḥ — their minds absorbed in Him; mahā — great; udayāḥ — experiencing a festivity.
Translation
Śrī Śukadeva Gosvāmī said: O King, thus during the daytime the women of Vṛndāvana took pleasure in continuously singing about the pastimes of Kṛṣṇa, and those ladies’ minds and hearts, absorbed in Him, were filled with great festivity.
Purport
This verse definitely confirms that the so-called pain of the heartbroken gopīs is actually great spiritual bliss. On the material platform, pain is pain — period. But on the spiritual platform, so-called pain is simply a different variety of spiritual ecstasy. In the Western countries, people take pleasure in mixing different flavors of ice cream to produce wonderful combinations of flavor. Similarly, on the spiritual platform Śrī Kṛṣṇa and His devotees expertly mix the flavors of spiritual bliss, and thus every day was a treat for the gopīs.
Thus end the purports of the humble servants of His Divine Grace A.C. Bhaktivedanta Swami Prabhupāda to the Tenth Canto, Thirty-fifth Chapter, of the Śrīmad-Bhāgavatam, entitled “The Gopīs Sing of Kṛṣṇa as He Wanders in the Forest.”