mahāśano mahā-pāpmā viddhy enam iha vairiṇam

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They mentally embraced (abhirebhire) Kṛṣṇa who had overpowered their hearts. Or they embraced each other because their natural love had awakened. Or they embraced the sound of the flute with affection: they became attached to the sound. This was because the sound of the flute was attractive to all beings, what to speak of only the gopīs. Citsukha accepts the version with abhiremire (instead of abhirebhire — they attained complete attraction). O king! Śukadeva addresses Parīkṣit for the same reasons mentioned previously. Or Śukadeva exclaims, “O king shining with this special bhāva.” He takes him by the hand, raises him up and embraces him

 

Text 7

śrī-gopya ūcuḥ

akṣaṇvatāṁ phalam idaṁ na paraṁ vidāmaḥ

sakhyaḥ paśūn anaviveśayator vayasyaiḥ

vaktraṁ vrajeśa-sutayor anu veṇu juṣṭaṁ

yair vā nipītam anurakta-kaṭākṣa-mokṣam

Translation

The cowherd girls said: O friends! We do not know any other success for those with eyes than the face of the younger one who plays the flute — the face experienced as he casts a side glance of love, the face tasted by people with eyes — as the two sons of Nanda take the cows from forest to forest along with their friends.

 

Śrīdhara Svāmī does not accept the words “the gopīs said” since in his commentary he says that they describe Kṛṣṇa. It would be unsuitable that he would repeat what is already understood by the words “the gopīs said” or that he was explaining the phrase “the gopīs said”. However the words “the gopīs said” are accepted everywhere.

 

yāsāṁ budhyeta vāg artho yāsām eva prasādataḥ

 

gopīḥ prapadye tā yābhiḥ sa gambhīrāśayo jitaḥ
 

 

 

I surrender to the gopīs by whose mercy one can understand their words and by whom his deep heart was conquered.

 

They begin by referring indirectly to Kṛṣṇa as idam param phalam (this highest result for the eyes) to keep the object of the highest result confidential. They should not directly reveal their sentiments for Kṛṣṇa. Or they cannot directly indicate him because they are controlled by a manifestation of intense prema. We do not know a higher sight for the eyes in Vṛndāvana, or any other sight for the eyes, though other people may know something else. They speak with irony: since we cannot see him now our eyes are not functioning successfully. Though they were about to see his face in some place, at some time by some means in Vraja they were eager to see his face while he played the forest.

 

Their pain arising from lack of satisfaction, arising from deep prema, is their very nature. O friends! You know this directly. The two enter, one following the other, or they enter one forest after another (anu) by making sweet signals. They are the two sons of Nanda (vrajeśa-sutau). Hari-vaṁśa says vasudeva iti khyāto goṣu tiṣṭhati bhūtale: Vasudeva stayed on earth among the cows. Thus Vasudeva can be called Vrajeśa and his son is Balarāma. Or he can be regarded as the son of Nanda, helping Kṛṣṇa.

 

Though it is not suitable that Balarāma be described when describing Kṛṣṇa’s flute attracting the gopīs, mentioning him adds special beauty since he assists Kṛṣṇa at this time. Also to cover up their special attraction to Kṛṣṇa out of shyness, they mention Balarāma along with Kṛṣṇa usually. Thus though the gopīs speak of one cowherd face, both faces were present, since they were always together. One face represents the type (jāti) of both. Thus when one of the two is mentioned, it means both of them. This is explained earlier in SB 10.8.23.

 

Among the two sons of Nanda, he follows behind (anu) and his mouth tasted by the flute and his face are experienced by those with eyes. Kṛṣṇa is famous for having the flute in his mouth and following behind Balarāma since he is younger. “Face” is also in the singular. The eyes constantly (ni — pītam) drink the nectar of his face, which is like the moon. The word vai indicates it is well known.

 

Or, the face is served (juṣṭam) by the flute constantly (anu) since it can be separated from the verb in poetry (Pāṇini 1.4.82) or the face is served by the flute suitably (anu). The word vai can indicate completely, as in the expression māninām anutāpam vai (SB 10.20.12) identifying with the body completely. Some versions have vā instead.

 

Nipītam means his face is seen intently or devotedly by those with eyes. The face is experienced while he releases affectionate side glances. Or the face is tasted by you people who have attraction and who release glances. Or his face releases glances at people with attraction since he becomes happy by their service. We know the success of all the senses (for persons who possess senses) in experiencing and tasting his face. Success for the activities of the senses is accomplished by the highest fruit of tasting his face.

 

Or we do not know any other result except this. What is this? It is that which is seen with love (juṣṭam). What is another result? It is drunk by them — by their drinking the nectar of his lips. The success is that they drink the nectar of his lips.

 

jitaṁ sarvaṁ jite rase: if one is able to control the tongue, then one is understood to be in full control of all the senses. SB 11.8.21

 

According this reasoning they become successful by tasting his tongue in his face. They reach all success of all the senses by drinking the nectar of his lips which is most worthy of worship. By attaining that, everything else is useless. This is stated with great longing.

 

Or, the result for the eyes is that his face is experienced and tasted but the mouth is drunk by the tongue, not the eyes. Vai can mean “but.” Thus what can be said of the result for such people? But they could not say this because their throats were choked with tears just by remembering Kṛṣṇa. Or, Śukadeva had emotions of deep prema similar to these exalted gopīs.

 

Text 8

cūta-pravāla-barha-stabakotpalābja

mālānupṛkta-paridhāna-vicitra-veśau

madhye virejatur alaṁ paśu-pāla-goṣṭhyāṁ

raṅge yathā naṭa-varau kvaca gāyamānau

Translation

Dressed attractively in cloth with garlands, with peacock feathers mango buds entwined in clusters of flowers on their heads, with water lilies in their ears and play lotuses in their hands, Kṛṣṇa and Balarāma shine forth magnificently among the assembly of cowherd boys, and sometimes sing. They look just like the best of dancers appearing on a dramatic stage.

 

Same

 

Wondering whether they should reveal their true emotions by double meanings, they conceal their emotions with great attention in their second verse. Because of intense feelings of love, they can no longer conceal that love in the third verse. In the fourth and other verses they can conceal their love to some degree. They were decorated on their heads with bunches of flowers, within which were placed mango buds and peacock feathers. In their ears were the inner portions of water lilies and in their right hands were play lotuses. They had garlands over their clothing. In this way they were attractively dresses (vicitra-veśau). They appeared glorious amidst the gathering of cowherd boys in various ways (vi — rejatuḥ) or because of the beauty of each item. They were like two dancers in a dancing arena. This indicates that they would also dance and express their joy at will, and that even the other cowherd boys would play instruments and dress skillfully. Otherwise dancing would not be so beautiful. They would sometimes be situated in the center of the other boys because of unsteadiness due to absorption in their playing. They were more splendid here (alam) than in Vraja because in Vraja they could not sing or dance with the same abandon.

 

Or, there is a gradual development in the first five verses that the gopīs speak. The intention of the previous verses was “The cowherd boys had success for their eyes since they could see Kṛṣṇa at that time.” The present verse expresses “Not only do they see him, but they experience happiness with singing and dancing amidst a group where the two are present.” They also sang. Or, they were glorified by others singing special songs. Or sometimes they would sing, since they became too absorbed in dancing. Or, they became proud in singing. “Of you two who is the best singer? Let the best one sing.” In this way the two became proud and sang. This is a particular sweetness of their play. Oh! These cowherds are fortunate and we gopīs are unfortunate, since we cannot freely associate with them because of fear of public opinion! This unspoken statement is understood from their emotions. This statement may be added to later verses also. The reason for frustration has been stated here: fear of public opinion.

 

Text 9

gopyaḥ kim ācarad ayaṁ kuśalaṁ sma veṇur

dāmodarādhara-sudhām api gopikānām

bhuṅkte svayaṁ yad avaśiṣṭa-rasaṁ hradinyo

hṛṣyat-tvaco ‘śru mumucus taravo yathāryaḥ

Translation

My dear gopīs! What auspicious activities must the flute have performed to enjoy the nectar of Dāmodara’s lips independently and leave only a taste for us gopīs, for whom that nectar is actually meant! The rivers have their hairs standing on end and its relatives the trees shed tears of pleasure just as forefathers shed tears of joy on seeing the good fortune of their descendants.

Commentary

What to speak of the cowherds’ fortune, what can we say of the flute’s good fortune? The gopīs express their desire mixed with envy, while imagining falsely because of madness produced by the appearance of mahā-bhāva. Though it appears to us to be a dry piece of wood, how many pious acts has this flute performed in this life or previous lives? We will also do such pious acts for that purpose to get such benefit. Sma indicates dismay. The characteristic of the flute are described beginning with the words yad avaśiṣṭa-rasaṁ. By addressing Kṛṣṇa as Dāmodara they suggest that he and they had a special, natural relationship which started from early childhood, with the first sprouts of their present emotions. Therefore we gopīs should enjoy him. The flute is male (ayam) and thus it is unsuitable to enjoy with him. The flute always drinks the nectar of his lips as its only enjoyment, since we do not see it enjoying anything else. “We see that after associating with Dāmodara’s lips, the lips are still juicy, not dried up. Therefore the flute did not enjoy the lips at all.” No. What remains now is only a taste. It drank the nectar completely and left only a trickle. O gopīs! Therefore the flute’s birth is fortunate and not our birth. Why were you gopīs born at all?

 

Instead of saying “leaving only a taste for us” they say “leaving only a taste for the young gopīs (gopīkānām).” This indicates that though others may enter into their group they are not qualified for his lips since they do not have the special qualifications of the gopīs. They say this out of their identity as gopīs and out of special taste for beauty. Another meaning is that they protect (gop) their bodies by aspiring for him alone. That flute not only resides constantly in your lover’s hand, heart and mouth, but enjoys the nectar of his lips without taking your permission. Or, how does the flute enjoy? It does not leave any remains at all (another meaning of avaśiṣṭa) according to the rule vaṣṭi-bhāgurir al-lopam. (quoted in Alaṅkāra-kaustubha) vaśiṣṭa means “remaining” and avaśiṣṭa means “not remaining.” Not even a drop remains.

 

Or, because of continuing to have (avaśiṣṭa) great attraction (rasa), the flute never ceases to enjoy. Or, what is the nature of that nectar? Giving up all other rasa, the flute enjoys even the rasa remaining for the gopīs. The symptoms of the flute’s pious acts are mentioned. Seeing the good fortune of the flute, the rivers, endowed with great fortune, have their hairs standing on end in the form of lotuses blooming. Or, “the remaining rasa” can be part of this statement if the word yat does not mean “because.” The rivers taste the remaining rasa (the sound) of the flute (yat) since their hairs are standing on end. Moreover, seeing the good fortune of the flute, coming from the same plant family, all the plants release tears of honey, just as forefathers seeing the good fortune of their family members release tears. Another meaning spoken out of hatred appears. “In such company, what fault does the flute alone have?” The flute should be kept hidden (gopyaḥ) somewhere at least.

 

Text 10

vṛndāvanaṁ sakhi 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 , with peacocks dancing madly when they hear Govinda’s flute, with all other creatures remaining stunned on the top of the hills as they watch the dancing.

Commentary

What more can be said about the flute which is held in his hand? Let us describe the glories of Vṛndāvana instead. O friend! Vṛndāvana spreads glory of the earth more than (vi — tanoti) Vaikuṇṭha since (yat for yasmāt) it is marked with his footprints. Or Vṛndāvana, which (yat) is marked with his footprints, spreads more glory. It has become glorious by wealth produced from the foot prints of Kṛṣṇa. In this way it is incomparable. It has his foot prints directly, not with shoes on. Thus Vṛndāvana is most fortunate. The gopīs call Kṛṣṇa the son of Devakī because of the words of Garga: previously he was known as the son of Vasudeva. (SB 10.8.14) By this they also hide their feelings. Govinda means the controller of cows according to the dictionary. They use the name in that sense, since Kṛṣṇa became famous as Govinda only after the bathing ceremony by Indra. In the next verse however they cannot hide whom they mean since they address Kṛṣṇa as the son of Nanda in that verse. Or, Devakī can also be another name of Yaśodā. Viṣṇu Purāṇa says:

 

dve nāmnī nanda-bhāryāyā yaśodā devakīti ca

 

ataḥ sakhyam abhūt tasya devakyā śauri-jāyayā

 

The wife of Nanda had two names, Yaśodā and also Devakī. Therefore it was natural that she [the wife of Nanda] develop friendship with Devakī, the wife of Vasudeva.

 

Govinda also means the king (indra) of the cows (go) with the vi indicating special qualities. In other words the gopīs refer to the son of Yaśodā who is surrounded with cowherd boys and cows and decorated with forest ornaments. The good fortune of Vṛndāvana is that it possesses the object of our desire. The peacocks dance because they mistake him for a dark rain cloud gently rumbling. Otherwise they would remain motionless in bliss like others. This shows their extraordinary nature. Or, related to these peacocks with the highest natural affection for Kṛṣṇa, all others of the species by the mercy of the Lord even in other places developed affection for clouds which were similar to Kṛṣṇa, after hearing (anu) Govinda’s flute. This phrase (hearing his flute) should be understood in the following verses also.

 

Or, Vṛndāvana was filled with the peacocks mad because of the mantra-like sound of the flute (venu-manu), which was most attractive. Though the flute was the cause of the peacocks dancing, it was the cause of others remaining stunned. However, they all stood like an audience watching (prekṣya) the peacocks dance. Or, they remained stunned on the top of the hill since it was most attractive, being the sitting place of the Lord. Or, prekṣā can mean a festive performance according to Viśva-prakāśa. Thus the other living beings remained stunned on the top of the hill, at high places, to see the performance. Or, the peacocks, on seeing that Kṛṣṇa had come to the forest with peacock feather decorations on his head, out of affection danced. Seeing that (matta-mayūra-nṛtyaṁ prekṣyā), he began playing his flute in joy. After that (anu), all creatures, being detached (avarata) from all other goals except seeing Govinda dance, remained on the top of the hill. In this way Vṛndāvana showed itself superior to Vaikuṇṭha. Ah! We cannot attain such perfection. We are most unfortunate. Their characteristic of dissatisfaction, which is natural to prema, should be understood in all the verses.

 

Text 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, on hearing the sound of his flute, they, with their husbands, perform the best worship while glancing with affection at Mahārāja Nanda’s son, who is gorgeously dressed.

 

What to speak of the glory of Vṛndāvana, the shelter of all jīvas dear to the Lord, let us describe the good fortune of the animals that take shelter there. The does’ knowledge (gatayaḥ) is without discrimination (mūḍha). Another version has matayaḥ. Though the does wander through the forest, they are seen by him. They worship the son of Nanda. Nanda indicates the he is endowed with all great qualities, giving joy. They mention Nanda’s name even though he is an elder, since their minds are bewildered by uncontrollable agitation.

 

He has accepted (upātta) colorful dress, given by the boys — forest garland and head ornaments of peacock feathers and guñja beads. The deer perform worship in a special way (viracitām) with their affectionate glances since they do not have the materials for worship, and since he is the essence of worship for them, being the crown jewel of rasa. Glances is in the plural to show respect and to indicate a sequence of glances. Sma indicates astonishment or lamentation: we do not have such good fortune!

 

Or hearing the sound of the flute, the does, which, by being born in Vṛndāvana, had attained all knowledge and skill, now became unintelligent (mūḍhā) in the use of their internal and external senses (gatayaḥ). Or they could not move at all (mūḍha-gatayaḥ). They stumbled around or became stunned. The does which always stayed in the forest performed worship using affectionate glances. Or overcome with desire they could not judge anything or do anything. They just looked at Kṛṣṇa as if performing worship with reverence. The does (etāḥ) are like us. They are with their husbands the bucks (saha-kṛṣṇa-sārāḥ), but even the bucks at least once (api) worship him. They are best (sāra) for Kṛṣṇa. They thus criticize the cowherds who do not service Kṛṣṇa in this spontaneous way.

 

Text 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

When the devatās’ wives flying in airplanes with their husbands catch sight of Kṛṣṇa, whose nature and form bring joy to all women, and when they hear the pure song when he plays the flute, their hearts are shaken by Cupid, and they become so bewildered that the flowers fall out of their hair and their belts loosen.

Commentary

What to speak of the glories of those who live in Vṛndāvana near Kṛṣṇa, how can one describe the good fortune of those flying in the sky? They see Kṛṣṇa, he who attracts the heart, with a form and natural qualities giving joy to women, suitable to cause anurāga in them. They hear a song with pure rāga (vivkta), or indicating mādhurya-rasa, sounded by his flute. They came suddenly in their airplanes with their husbands since they were not suitable for direct association with Kṛṣṇa. They were constantly afflicted with desire for him by seeing him, since it is mentioned that they saw his form. Their enchantment was further enhanced by hearing the song of his flute. Or, whenever they saw him at that time they became bewildered. Seeing and hearing were both causes of bewilderment. The actual order should be first hearing and then seeing. When this happens, they are not able to descend from their airplanes and approach Kṛṣṇa, because of their bewilderment. This is the anubhava called moṭtāyita.

 

kānta-smaraṇavārtado hṛdi tad-bhāva-bhāvitaḥ

 

prākaṭyam abhilāśasya moṭṭāyitam udīryate

 

Moṭṭāyita refers to the appearance of desire in the heart from the arousal of the sthāyi-bhāva, from remembering or hearing about the beloved.

 

We are most unfortunate for not having seen the astonishing ocean of all auspiciousness, who bewilders the foolish female deer and the most intelligent wives of devatās. Or, we are most unfortunate for not seeing him as he wanders in the forest, whereas they are fortunate.

 

Text 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, with tear-filled eyes, as they touch him within their hearts, stand still. The calves, their mouths full of milk from their mothers’ moist nipples, also stand still.

 

Four verses describe the words of another gopī (describing cows, birds, rivers and clouds). Or one can explain the verse as a continuation of what was previously written. In other words as the verses proceed, lesser and lesser individuals are gradually described. Though there should be nothing inferior in Vraja to the women from heaven or spiritual objects (flute or dhāma), because of the colorful motions of prema, they make these verses by selecting certain details (to express their misfortune). There is good fortune for exalted women of heaven. Thus there is also good fortune for the animals, humans and cows who can see Kṛṣṇa. Thus now cows are described.

 

The word ca means “but.” Previously Kṛṣṇa’s moonlike face was described as full of nectar. By mentioning his face, nectar is suggested. Kṛṣṇa has a form of the highest bliss. Therefore there is nectar flowing from the flute song emanating from his moon-like face. Sma indicates astonishment or certainty. They simply stand, stunned, overcome by sāttvika-bhāvas. Govinda indicates their master (lord of the cows). The cows touch him with affection.

 

Even though the calves were with them, the milk stopped flowing from their udders, and even though they had grass in their mouths, they did not chew or swallow, but simply stood there (śāvāsnuta-stana-payaḥ kavalāḥ). The accepted version has śāva. Milk coming from their udders (snuta-stana-payaḥ) out of affection for the Lord as a calf, with grass in their mouths, the cows remain stunned. This is the accepted version.

 

Taking the word śāvāḥ to make a separate statement the meaning is “From some of the calves’ mouths the milk coming from their mothers flowed out, whereas other calves’ mouths have grass in their mouths (kavalāḥ) which they have been chewing.”

 

The cows embrace Govinda in their minds, via their eyes, or they offer themselves to Govinda in their minds since they cannot see him directly since their eyes are raining (kalāḥ) with tears. Since their eyes are covered with tears, they see him in their minds. Or the cows remain standing, touching Govinda by licking him, using their eyes (dṛśā).

 

We are most unfortunate since we cannot touch him. The deer and heavenly women heard the flute and saw his form. The cows simply on hearing the flute developed love. That is the difference between them indicated by the word ca.

 

Text 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 budding branches of the trees to see Kṛṣṇa. With closed eyes, like sages, they are simply listening in silence to the sweet vibrations of his flute, and they speak of nothing except Kṛṣṇa.

Commentary

What to speak of the good fortune of the cows, protected by Kṛṣṇa, how can we describe the fortune of the birds in the forest? The majority of the birds are like this, but some like the peacocks are equal to the greatest devotees with their dancing in prema (not sitting in the tress). Bata expresses astonishment. O mother! It is the nature of those immersed in prema to make such statements. Since no mother is present, they address their friends in this manner. The birds climb on the branches of trees in order that they can see Kṛṣṇa or so that Kṛṣṇa can see them. The branches have attractive buds which create an obstacle to seeing him, and are the object of enjoyment. Seeing him, they listen to the song of his flute with half-closed eyes. This indicates lassitude because of intense prema. No words except the words of the flute are sensed by their minds, ears or voice. Thus they are fortunate.

 

An interpretation according to prema may also be given. The word rucira also indicates that the buds have offered all activities to their Lord. The word prāyaḥ indicates conjecture (perhaps it is so?). The word munayaḥ refers to ātmārāmas like the Kumāras who have become birds in this forest, in order to see Kṛṣṇa. They hear the sound of the flute which they imagine in many ways, since they have never experienced the sound before, whose qualities are continually increased (uditam) by Kṛṣṇa. This shows that the sound of the flute attracts them away from brahma-samādhi. That song of the flute attracts the universe (kala). These sages have surpassed the branches of the Vedas filled with various subdivisions. They have given up study of the Vedas. Consciousness of their bodies has disappeared (mīlita-dṛśaḥ — closed vision). They are silent on all topics except Kṛṣṇa. What else can they deliberate on?