प्रभातलीलाभावनावर्णनPrabhātalīlābhāvanāvarṇanam

Then, one should meditate upon the glorious Gokula, which is beautifully adorned by cows and where the dust marked by the footprints of Kṛṣṇa is considered the supreme wealth.

atha śrīgokulaṃ dhyāyet dhenubhiḥ samalaṅkṛtam |

kṛṣṇapādāṅkitarajo yatrāsti paramaṃ dhanam ||1||

atha — then

śrīgokulam — the glorious Gokula

dhyāyet — one should meditate upon

dhenubhiḥ — by cows

samalaṅkṛtam — well-adorned

kṛṣṇapādāṅkitarajaḥ — the dust marked by the footprints of Kṛṣṇa

yatra — where

asti — is

paramam — supreme

dhanam — wealth

atha, śrīgokulam, dhenubhiḥ samalaṅkṛtam, yatra, kṛṣṇapādāṅkitarajaḥ, paramam dhanam, asti, dhyāyet,

• atha — then, at the beginning of the meditation
• śrīgokulam dhenubhiḥ samalaṅkṛtam — the glorious Gokula, which is beautifully adorned by the presence of many cows
• yatra kṛṣṇapādāṅkitarajaḥ paramam dhanam asti — where the dust marked by the footprints of Kṛṣṇa exists as the supreme wealth
• dhyāyet — one should meditate upon this scene

• The verse establishes the meditative foundation (dhyāna) for the morning pastimes, emphasizing the sanctity of the land of Vraja.
• The "dust of Kṛṣṇa's feet" is presented as the highest treasure, reflecting the Vaiṣṇava tradition's valuation of the humble remnants of the Lord.
• This verse sets the scene for the entire chapter, shifting the focus from the internal state of the devotee to the external environment of the Lord's morning activities.

The atmosphere is filled with the sweet, tumultuous sounds of birds that have flown from their nests, joined with the lowing of the calves that have just awakened.

svapañjaroddīnapakṣīṇāṃ kolāhalakalasvanam |

utthitānāñca vatsānāṃ haṃbhārāveṇa saṃyutam ||2||

svapañjara — from their own cages/nests

uddīna — flown out

pakṣīṇām — of the birds

kolāhala — tumultuous

kalasvanam — sweet sounds

utthitānām — of those who have risen

ca — and

vatsānām — of the calves

haṃbhārāveṇa — with the lowing sound

saṃyutam — joined

svapañjaroddīnapakṣīṇām, kolāhalakalasvanam, utthitānāñca, vatsānām, haṃbhārāveṇa, saṃyutam,

• svapañjaroddīnapakṣīṇāṃ kolāhalakalasvanam — the sweet and tumultuous sounds of birds that have flown from their nests
• utthitānāñca vatsānāṃ haṃbhārāveṇa saṃyutam — joined with the lowing sounds of the calves that have just awakened
• saṃyutam — the atmosphere is filled with this combination

• This verse utilizes sensory imagery (auditory) to evoke the transition from night to day in the pastoral setting of Vraja.
• The "sweet sounds" (kalasvana) represent the auspicious nature of the morning, signaling the beginning of the Lord's daily pastimes.
• The mention of calves and birds highlights the intimate connection between the Lord and the natural world of the Vaiṣṇava tradition.

The place is completely filled with the singing of the gopīs, who, at the time of churning yogurt, create a rhythmic tinkling sound with their bracelets.

udgāyantīnāṃ gopīnāṃ gānena paripūritam |

dadhinirmanthane kāle kvaṇatkaṅkaṇaśabditam ||3||

udgāyantīnām — of those singing aloud

gopīnām — of the gopīs

gānena — by the singing

paripūritam — completely filled

dadhinirmanthane — in the churning of yogurt

kāle — at the time

kvaṇat — tinkling

kaṅkaṇa — of bracelets

śabditam — sounded

udgāyantīnāṃ gopīnāṃ gānena, paripūritam, dadhinirmanthane kāle, kvaṇatkaṅkaṇaśabditam,

• udgāyantīnāṃ gopīnāṃ gānena paripūritam — completely filled with the singing of the gopīs who are singing aloud
• dadhinirmanthane kāle kvaṇatkaṅkaṇaśabditam — at the time of churning yogurt, accompanied by the tinkling sound of their bracelets

• The churning of yogurt is a classic motif in the Vaiṣṇava tradition, symbolizing the domestic devotion of the gopīs.
• The "tinkling of bracelets" adds a layer of aesthetic beauty (rasa) to the mundane activity of churning, elevating it to a devotional act.
• This verse emphasizes the auditory landscape of Vraja, where every sound is a form of service to the Lord.

The environment is made resonant by the buzzing of bees that have departed from the blooming lotuses, and it is filled with the sounds of the milking of cows.

vikasatkamalebhyaśca prasthitānāntu ṣaṭpadānām |

jhaṅkāreṇa mukharitaṃ kṛtagodohanasvanam ||4||

vikasat — blooming

kamalebhyas — from the lotuses

ca — and

prasthitānām — of those departed

tu — indeed

ṣaṭpadānām — of the bees (six-footed ones)

jhaṅkāreṇa — by the buzzing sound

mukharitam — made resonant

kṛta — done

godohana — milking of cows

svanam — sound

vikasatkamalebhyaḥ prasthitānāṃ ṣaṭpadānāṃ jhaṅkāreṇa, mukharitam, kṛtagodohanasvanam,

• vikasatkamalebhyaḥ prasthitānāṃ ṣaṭpadānāṃ jhaṅkāreṇa mukharitam — made resonant by the buzzing of bees that have departed from the blooming lotuses
• kṛtagodohanasvanam — and filled with the sounds of the milking of cows

• The imagery of bees leaving lotuses signifies the awakening of nature at dawn, a common trope in devotional poetry.
• The "milking of cows" (godohana) is a central activity in the life of the cowherd community, essential to the pastoral identity of the Lord.
• The resonance (mukharita) suggests that the entire atmosphere of Gokula is vibrating with the activity of devotion.

The atmosphere is marked by auspicious signs produced by the loud chanting of the names of Hari, as great souls like Nanda go there for the purpose of bathing.

snānārthaṃ gacchatāṃ tatra nandādīnāṃ mahātmanām |

harikīrtanasannādasañjātaśubhalakṣaṇam ||5||

snānārtham — for the purpose of bathing

gacchatām — of those going

tatra — there

nandādīnām — of Nanda and others

mahātmanām — of the great souls

harikīrtana — of the chanting of Hari's names

sannāda — by the loud sound

sañjāta — produced

śubhalakṣaṇam — auspicious signs

tatra snānārthaṃ gacchatāṃ nandādīnāṃ mahātmanām, harikīrtanasannādasañjātaśubhalakṣaṇam,

• tatra snānārthaṃ gacchatāṃ nandādīnāṃ mahātmanām — of the great souls like Nanda who are going there for the purpose of bathing
• harikīrtanasannādasañjātaśubhalakṣaṇam — the atmosphere is marked by auspicious signs produced by the loud chanting of the names of Hari

• The act of bathing (snāna) is presented as a ritualized, auspicious beginning to the day for the elders of Vraja.
• The chanting of Hari's names (harikīrtana) is the defining characteristic of the Vaiṣṇava tradition, sanctifying the daily routine.
• The term "mahātmanām" (great souls) elevates the cowherds, showing that their simple lives are infused with high spiritual consciousness.

The place is perfumed by blooming jasmine, coral trees, and Mādhavī creepers, and it is adorned with cottages whose doors are decorated in order.

vikasanmallimandāramādhavībhiḥ sugandhitam |

kramādalaṅkṛtadvārakuṭīrairabhimaṇḍitam ||6||

vikasat — blooming

malli — jasmine

mandāra — coral tree

mādhavībhiḥ — with Mādhavī creepers

sugandhitam — perfumed

kramāt — in order

alaṅkṛta — decorated

dvāra — doors

kuṭīraiḥ — with cottages

abhimaṇḍitam — adorned

vikasanmallimandāramādhavībhiḥ, sugandhitam, kramādalaṅkṛtadvārakuṭīrairabhimaṇḍitam,

• vikasanmallimandāramādhavībhiḥ sugandhitam — perfumed by the blooming jasmine, coral trees, and Mādhavī creepers
• kramādalaṅkṛtadvārakuṭīrairabhimaṇḍitam — adorned with cottages whose doors are decorated in order

• The description of flowers and decorated cottages creates a sense of beauty and order, reflecting the loving care of the residents of Vraja.
• The mention of specific flowers (malli, mandāra, mādhavī) adds a sensory, aesthetic dimension to the meditation.
• This verse emphasizes the external beauty of the Lord's abode, which is a reflection of the internal purity of the devotees.

There in the house of Nanda in Gokula, the wife of Nanda (Yaśodā) is present with the gopīs, cowherd boys, and other loving devotees.

gokule tatra nandasya bhavane nandabhāminī |

gopībhirgopabālaiśca sahānyaiḥ premikaistathā ||7||

gokule — in Gokula

tatra — there

nandasya — of Nanda

bhavane — in the house

nandabhāminī — the wife of Nanda (Yaśodā)

gopībhiḥ — with the gopīs

gopabālaiḥ — with the cowherd boys

ca — and

saha — together with

anyaiḥ — others

premikaiḥ — with the loving ones

tathā — also

tatra gokule nandasya bhavane, nandabhāminī, gopībhirgopabālaiśca sahānyaiḥ premikaistathā,

• tatra gokule nandasya bhavane — there in the house of Nanda in Gokula
• nandabhāminī gopībhirgopabālaiśca sahānyaiḥ premikaistathā — the wife of Nanda (Yaśodā) is present with the gopīs, cowherd boys, and other loving devotees

• The verse introduces the key figures of the morning pastime: Yaśodā, the gopīs, and the cowherd boys.
• The term "premikaiḥ" (loving ones) underscores that the primary qualification for being in the Lord's presence is love (prema).
• This establishes the social context of the morning, where the Lord is surrounded by those who love Him most.

Having taken a vessel filled with sweet milk in her hand, she sings various songs with her friends.

hastena pātramādāya madhurakṣīrasaṃyutam |

vividhāni ca gītāni gāyantī svasakhījanaiḥ ||8||

hastena — with her hand

pātram — a vessel

ādāya — having taken

madhura — sweet

kṣīra — milk

saṃyutam — filled with

vividhāni — various

ca — and

gītāni — songs

gāyantī — singing

svasakhījanaiḥ — with her own friends

hastena madhurakṣīrasaṃyutaṃ pātram ādāya, svasakhījanaiḥ vividhāni gītāni ca gāyantī,

• hastena madhurakṣīrasaṃyutaṃ pātram ādāya — having taken a vessel filled with sweet milk in her hand
• svasakhījanaiḥ vividhāni gītāni ca gāyantī — and singing various songs with her own friends

• The "vessel of sweet milk" is a symbol of the maternal affection (vātsalya-rasa) that Yaśodā feels for Kṛṣṇa.
• The act of singing with friends highlights the communal nature of devotion in the Vaiṣṇava tradition.
• This verse prepares the reader for the intimate interaction between the mother and the child.

She joyfully awakens her own son, Hari, who is sleeping on a soft bed; she awakens Govinda, the son of Nanda.

mṛdutalpe śayānaṃ taṃ svapantaṃ svasutaṃ harim |

utthāpayati govindaṃ sānandaṃ nandanandanam ||9||

mṛdutalpe — on a soft bed

śayānam — lying

tam — him

svapantam — sleeping

svasutam — her own son

harim — Hari

utthāpayati — she awakens

govindam — Govinda

sānandam — with joy

nandanandanam — the son of Nanda

mṛdutalpe śayānaṃ svapantaṃ svasutaṃ taṃ harim, sānandaṃ nandanandanaṃ govindaṃ utthāpayati,

• mṛdutalpe śayānaṃ svapantaṃ svasutaṃ taṃ harim — she awakens Him, Hari, her own son, who is sleeping on a soft bed
• sānandaṃ nandanandanaṃ govindaṃ utthāpayati — she joyfully awakens Govinda, the son of Nanda

• The act of waking the Lord (suprabhāta) is a standard practice in temple worship, here personalized through the lens of vātsalya-rasa.
• The use of multiple names (Hari, Govinda, Nandanandana) emphasizes the different aspects of the Lord's personality that the devotee relates to.
• The "joy" (sānandam) of the mother is the driving force behind this devotional service.

"Arise, O child cowherd, O enchanter of the gopīs! Your friends are calling you to go to Vṛndāvana with them."

uttiṣṭha bālagopāla gopījanamanorama |

tvāmāhvayanti suhṛdo gantuṃ bṛndāvanaṃ tvayā ||10||

uttiṣṭha — arise

bālagopāla — O child cowherd

gopījanamanorama — O enchanter of the gopīs

tvām — you

āhvayanti — are calling

suhṛdaḥ — friends

gantum — to go

bṛndāvanam — to Vṛndāvana

tvayā — with you

bālagopāla, gopījanamanorama, uttiṣṭha, suhṛdaḥ tvayā saha bṛndāvanaṃ gantuṃ tvām āhvayanti,

• bālagopāla, gopījanamanorama, uttiṣṭha — O child cowherd, O enchanter of the gopīs, arise
• suhṛdaḥ tvayā saha bṛndāvanaṃ gantuṃ tvām āhvayanti — your friends are calling you to go to Vṛndāvana with them

• The address "gopījanamanorama" highlights the Lord's role as the beloved of the gopīs, a central theme in the Vaiṣṇava tradition.
• The invitation to go to Vṛndāvana signifies the beginning of the day's pastoral pastimes.
• The tone is one of intimate, maternal encouragement, reflecting the sweetness of the relationship between Yaśodā and Kṛṣṇa.

"Arise quickly, O Govinda! May all auspiciousness be yours, and may all your faults be destroyed. Look at your face in this mirror."

uttiṣṭha śīghraṃ govinda maṅgalāni bhavantu te |

naśyantu te sarvadoṣāḥ paśyāsmin mukure mukham ||11||

uttiṣṭha — arise

śīghram — quickly

govinda — O Govinda

maṅgalāni — auspicious things

bhavantu — may happen

te — to you

naśyantu — may they be destroyed

te — your

sarvadoṣāḥ — all faults/obstacles

paśya — look

asmin — in this

mukure — mirror

mukham — face

govinda, śīghram uttiṣṭha, te maṅgalāni bhavantu, te sarvadoṣāḥ naśyantu, asmin mukure mukham paśya,

• govinda, śīghram uttiṣṭha — O Govinda, arise quickly
• te maṅgalāni bhavantu, te sarvadoṣāḥ naśyantu — may all auspiciousness be yours, and may all your faults be destroyed
• asmin mukure mukham paśya — look at your face in this mirror

• The mother's concern for the child's well-being (maṅgala) is a universal expression of maternal love, here applied to the Supreme Lord.
• The mirror (mukura) is a traditional element in the morning routine, allowing the Lord to see His own beauty.
• The phrase "may all your faults be destroyed" is a playful, affectionate way for the mother to express her desire for the Lord's protection.

"The cows, along with their calves, are calling you, O sweet one. They are not leaving for the sake of grass, but to see you, the one of dear appearance."

tvāmāhvayanti madhuraṃ dhenavo vatsasaṃyutāḥ |

na gantuṃ tṛṇalobhena tvāṃ draṣṭuṃ priyadarśanam ||12||

tvām — you

āhvayanti — are calling

madhuram — sweet one

dhenavaḥ — cows

vatsasaṃyutāḥ — with their calves

na — not

gantum — to go

tṛṇalobhena — because of the greed for grass

tvām — you

draṣṭum — to see

priyadarśanam — the one of dear appearance

vatsasaṃyutāḥ dhenavaḥ tvāṃ madhuram āhvayanti, tṛṇalobhena gantuṃ na, priyadarśanaṃ tvāṃ draṣṭum,

• vatsasaṃyutāḥ dhenavaḥ tvāṃ madhuram āhvayanti — the cows, along with their calves, are calling you, O sweet one
• tṛṇalobhena gantuṃ na — they are not going because of the greed for grass
• priyadarśanaṃ tvāṃ draṣṭum — they are waiting to see you, the one of dear appearance

• The cows are portrayed as devotees who prioritize the sight of the Lord over their own sustenance (grass).
• The term "priyadarśanam" (one of dear appearance) emphasizes the irresistible beauty of Kṛṣṇa.
• This verse illustrates the deep, reciprocal love between the Lord and the animals of Vraja.

"Arise, O child of Nanda! The sun has risen. Arise, O Kṛṣṇa, and look at my pleased, lotus-like face."

uttiṣṭha nandabāla tvaṃ prasthito'yaṃ prabhākaraḥ |

utthāya paśya māṃ kṛṣṇa prasannaṃ mukhapaṅkajam ||13||

uttiṣṭha — arise

nandabāla — O child of Nanda

tvam — you

prasthitaḥ — has risen

ayam — this

prabhākaraḥ — the sun (maker of light)

utthāya — having arisen

paśya — look

mām — at me

kṛṣṇa — O Kṛṣṇa

prasannam — pleased/joyful

mukhapaṅkajam — lotus-like face

nandabāla, uttiṣṭha, ayaṃ prabhākaraḥ prasthitaḥ, kṛṣṇa, utthāya māṃ paśya, prasannaṃ mukhapaṅkajam,

• nandabāla, uttiṣṭha — O child of Nanda, arise
• ayaṃ prabhākaraḥ prasthitaḥ — the sun has risen
• kṛṣṇa, utthāya māṃ paśya, prasannaṃ mukhapaṅkajam — O Kṛṣṇa, arise and look at my pleased, lotus-like face

• The rising sun serves as a natural marker for the start of the day's activities.
• The mother's request for Kṛṣṇa to look at her "pleased, lotus-like face" is a tender moment of maternal affection.
• The use of the name "Kṛṣṇa" brings a sense of intimacy and directness to the interaction.

Having heard her words, which were filled with parental affection, the Lord Kṛṣṇa arose and embraced his mother.

ākarṇya vacanaṃ tasyā vātsalyaparipūritam |

utthāya bhagavān kṛṣṇo mātaraṃ pariṣasvaje ||14||

ākarṇya — having heard

vacanam — the words

tasyāḥ — of her

vātsalya — with parental affection

paripūritam — filled

utthāya — having arisen

bhagavān — the Lord

kṛṣṇaḥ — Kṛṣṇa

mātaram — his mother

pariṣasvaje — embraced

tasyāḥ vātsalyaparipūritaṃ vacanaṃ ākarṇya, bhagavān kṛṣṇaḥ utthāya, mātaraṃ pariṣasvaje,

• tasyāḥ vātsalyaparipūritaṃ vacanaṃ ākarṇya — having heard her words, which were filled with parental affection
• bhagavān kṛṣṇaḥ utthāya mātaraṃ pariṣasvaje — the Lord Kṛṣṇa arose and embraced his mother

• The embrace (pariṣasvaje) is the physical manifestation of the deep, loving bond between the Lord and His devotee (in this case, His mother).
• The term "vātsalya-paripūritam" (filled with parental affection) defines the emotional tone of this interaction.
• This verse marks the transition from the Lord's sleep to His active participation in the day's pastimes.

Then, having cleaned his teeth and drunk milk, He embraced those standing around, such as Śrīdāmā, Vṛṣabha, and the gopīs.

atha kṛtvā dantaśuddhiṃ prāśya kṣīraṃ paristhitān |

śrīdāmavṛṣabhādīṃśca gopīśca pariṣasvaje ||15||

atha — then

kṛtvā — having done

dantaśuddhim — cleaning of the teeth

prāśya — having drunk

kṣīram — milk

paristhitān — those standing around

śrīdāmavṛṣabhādīn — Śrīdāmā, Vṛṣabha, and others

ca — and

gopīḥ — the gopīs

ca — and

pariṣasvaje — embraced

atha dantaśuddhiṃ kṛtvā, kṣīraṃ prāśya, paristhitān śrīdāmavṛṣabhādīn gopīśca pariṣasvaje,

• atha dantaśuddhiṃ kṛtvā, kṣīraṃ prāśya — then, having cleaned his teeth and drunk milk
• paristhitān śrīdāmavṛṣabhādīn gopīśca pariṣasvaje — he embraced those standing around, such as Śrīdāmā, Vṛṣabha, and the gopīs

• The daily routine of cleaning teeth and drinking milk is described as a natural, human-like activity of the Lord.
• The act of embracing his friends and the gopīs shows the Lord's accessibility and His love for His devotees.
• This verse highlights the social dimension of the Lord's morning, where He interacts with His companions.

When the boys had sat down there, the wife of Nanda decorated Govinda, the root of bliss, with ornaments.

upaviṣṭeṣu bāleṣu tatra nandakuṭumbinī |

ānandakandaṃ govindaṃ bhūṣayāmāsa bhūṣaṇaiḥ ||16||

upaviṣṭeṣu — having sat down

bāleṣu — the boys

tatra — there

nandakuṭumbinī — the wife of Nanda (Yaśodā)

ānandakandam — the root of bliss

govindam — Govinda

bhūṣayāmāsa — decorated

bhūṣaṇaiḥ — with ornaments

bāleṣu tatra upaviṣṭeṣu, nandakuṭumbinī ānandakandaṃ govindaṃ bhūṣaṇaiḥ bhūṣayāmāsa,

• bāleṣu tatra upaviṣṭeṣu — when the boys had sat down there
• nandakuṭumbinī ānandakandaṃ govindaṃ bhūṣaṇaiḥ bhūṣayāmāsa — the wife of Nanda decorated Govinda, the root of bliss, with ornaments

• The term "ānandakandam" (root of bliss) is a profound theological description of the Lord, emphasizing His nature as the source of all joy.
• The act of decorating the Lord (śṛṅgāra) is a significant form of devotional service in the Vaiṣṇava tradition.
• The scene depicts the domestic, loving atmosphere of Nanda's household.

Having eaten rice with mung beans, laḍḍus, fresh butter, ghee, and yogurt, and having released the cows and calves, He departed for the forest of the Yamunā.

mudgānnaṃ laḍḍukaṃ bhuktvā navanītaṃ ghṛtaṃ dadhi |

vimucya dhenūrvatsāṃśca prasthito yamunāvanam ||17||

mudgānnam — rice with mung beans

laḍḍukam — sweet balls (laḍḍus)

bhuktvā — having eaten

navanītam — fresh butter

ghṛtam — ghee

dadhi — yogurt

vimucya — having released

dhenūḥ — the cows

vatsān — the calves

ca — and

prasthitaḥ — departed

yamunāvanam — to the forest of the Yamunā

mudgānnaṃ laḍḍukaṃ navanītaṃ ghṛtaṃ dadhi bhuktvā, dhenūrvatsāṃśca vimucya, yamunāvanam prasthitaḥ,

• mudgānnaṃ laḍḍukaṃ navanītaṃ ghṛtaṃ dadhi bhuktvā — having eaten rice with mung beans, laḍḍus, fresh butter, ghee, and yogurt
• dhenūrvatsāṃśca vimucya — and having released the cows and calves
• yamunāvanam prasthitaḥ — He departed for the forest of the Yamunā

• The list of food items reflects the traditional diet of the cowherds of Vraja.
• The act of releasing the cows and calves is a necessary step before the day's grazing, showing the Lord's involvement in the pastoral life.
• The departure for the Yamunā forest sets the stage for the next phase of the Lord's daily pastimes.

To Govinda, the son of Nanda, who was prepared for the forest of Vṛndāvana and accompanied by the cowherd boys, the queen of Nanda (Yaśodā) spoke.

bṛndāraṇyāya sannaddhaṃ gopabālasamanvitam |

avocat nandamahiṣī govindaṃ nandanandanam ||18||

bṛndāraṇyāya — for the forest of Vṛndāvana

sannaddham — prepared

gopabāla — cowherd boys

samanvitam — accompanied by

avocat — spoke to

nandamahiṣī — the queen of Nanda (Yaśodā)

govindam — Govinda

nandanandanam — the son of Nanda

bṛndāraṇyāya sannaddhaṃ gopabālasamanvitaṃ govindaṃ nandanandanam, nandamahiṣī avocat,

• bṛndāraṇyāya sannaddhaṃ gopabālasamanvitaṃ govindaṃ nandanandanam — to Govinda, the son of Nanda, who was prepared for the forest of Vṛndāvana and accompanied by the cowherd boys
• nandamahiṣī avocat — the queen of Nanda (Yaśodā) spoke

• The term "nandamahiṣī" (queen of Nanda) highlights Yaśodā's status and her maternal authority.
• The Lord is described as "prepared" (sannaddha) for the forest, showing His readiness for the day's activities.
• This verse serves as an introduction to the final instructions given by the mother to her son.

"While following the cows, do not wander in the forest on the thorns. Play in the shade of the trees, and do not walk about in the heat of the sun."

anudhāvitadhenustvaṃ kaṇṭakeṣu vane mā aṭa |

tvaṃ krīḍa vṛkṣacchāyāyāmātape mā parivraja ||19||

anudhāvita — following

dhenuḥ — the cows

tvam — you

kaṇṭakeṣu — on thorns

vane — in the forest

mā — do not

aṭa — wander

tvam — you

krīḍa — play

vṛkṣacchāyāyām — in the shade of the trees

ātape — in the heat of the sun

mā — do not

parivraja — walk about

anudhāvitadhenuḥ tvaṃ kaṇṭakeṣu vane mā aṭa, tvaṃ vṛkṣacchāyāyāṃ krīḍa, ātape mā parivraja,

• anudhāvitadhenuḥ tvaṃ kaṇṭakeṣu vane mā aṭa — while following the cows, do not wander in the forest on the thorns
• tvaṃ vṛkṣacchāyāyāṃ krīḍa, ātape mā parivraja — play in the shade of the trees, and do not walk about in the heat of the sun

• The mother's instructions are filled with protective love, showing her concern for the Lord's comfort and safety.
• The imagery of "thorns" and "heat of the sun" contrasts with the "shade of the trees," emphasizing the mother's desire for the Lord's well-being.
• This verse captures the essence of vātsalya-rasa, where the devotee (the mother) cares for the Lord as if He were a vulnerable child.

"Do not play in the whirlpools of the Yamunā, and keep the wicked ones at a distance. Come back before the evening. May all auspiciousness be yours."

mā krīḍa yamunā''varte tyaja duṣṭāṃśca dūrataḥ |

āgaccha pūrvaṃ sandhyāyā maṅgalāni bhavantu te ||20||

mā — do not

krīḍa — play

yamunā — of the Yamunā

āvarte — in the whirlpools

tyaja — leave/avoid

duṣṭān — the wicked ones

ca — and

dūrataḥ — from a distance

āgaccha — come back

pūrvam — before

sandhyāyāḥ — the evening

maṅgalāni — auspicious things

bhavantu — may happen

te — to you

yamunā''varte mā krīḍa, duṣṭāṃśca dūrataḥ tyaja, sandhyāyāḥ pūrvaṃ āgaccha, te maṅgalāni bhavantu,

• yamunā''varte mā krīḍa — do not play in the whirlpools of the Yamunā
• duṣṭāṃśca dūrataḥ tyaja — and keep the wicked ones at a distance
• sandhyāyāḥ pūrvaṃ āgaccha — come back before the evening
• te maṅgalāni bhavantu — may all auspiciousness be yours

• The mother's warnings about the "whirlpools" and "wicked ones" reflect the dangers of the world, which the devotee wishes to protect the Lord from.
• The request to "come back before the evening" is a standard maternal concern, ensuring the child's safe return.
• The blessing "may all auspiciousness be yours" is a recurring theme, emphasizing the devotee's desire for the Lord's well-being.

Having spoken thus, the mother of Kṛṣṇa embraced her son with affection, performed ārati, and sent Him off with the boys.

ityuktvā kṛṣṇajananī putramāliṅgya cādarāt |

ārārtikaṃ tataḥ kṛtvā preṣayāmāsa bālakaiḥ ||21||

iti — thus

uktvā — having spoken

kṛṣṇajananī — the mother of Kṛṣṇa

putram — her son

āliṅgya — having embraced

ca — and

ādarāt — with respect/affection

ārārtikam — the ārati (offering of lights)

tataḥ — then

kṛtvā — having performed

preṣayāmāsa — sent

bālakaiḥ — with the boys

iti uktvā, kṛṣṇajananī ādarāt putram āliṅgya, tataḥ ārārtikaṃ kṛtvā, bālakaiḥ saha preṣayāmāsa,

• iti uktvā, kṛṣṇajananī ādarāt putram āliṅgya — having spoken thus, the mother of Kṛṣṇa embraced her son with affection
• tataḥ ārārtikaṃ kṛtvā, bālakaiḥ saha preṣayāmāsa — then, having performed ārati, she sent Him with the boys

• The performance of ārati is a ritualized act of protection and devotion, common in the Vaiṣṇava tradition.
• The embrace and the ārati together signify the mother's deep, protective love for her son.
• The departure of the Lord with the boys marks the beginning of His day in the forest.

"Glory to Govinda, the cowherd! Glory to the beloved of the gopīs! Glory to the son of the lord of the cowherds! Glory to the protector of the cows and calves!"

jaya govinda gopāla jaya gopījanapriya |

jaya gopeśatanaya jaya govatsapoṣaka ||22||

jaya — victory/glory to

govinda — O Govinda

gopāla — O Gopāla

jaya — victory/glory to

gopījanapriya — O beloved of the gopīs

jaya — victory/glory to

gopeśatanaya — O son of the lord of the cowherds (Nanda)

jaya — victory/glory to

govatsapoṣaka — O protector of the cows and calves

govinda gopāla jaya, gopījanapriya jaya, gopeśatanaya jaya, govatsapoṣaka jaya,

• govinda gopāla jaya — glory to Govinda, the cowherd
• gopījanapriya jaya — glory to the beloved of the gopīs
• gopeśatanaya jaya — glory to the son of the lord of the cowherds
• govatsapoṣaka jaya — glory to the protector of the cows and calves

• The verse is a series of invocations (jaya), celebrating the different roles and qualities of the Lord.
• These titles highlight the Lord's intimate relationship with the cowherd community and His role as their protector.
• The repetition of "jaya" creates a rhythmic, devotional atmosphere, suitable for meditation or chanting.

Thus permitted by His mother, Hari went to Vṛndāvana. In this way, one should meditate upon the morning pastimes of Govinda in one's heart.

iti mātrā'bhyanujñāto bṛndāvanamagāddhariḥ |

evaṃ prabhāte govindalīlāṃ tu hṛdi bhāvayet ||23||

iti — thus

mātrā — by the mother

abhyanujñātaḥ — permitted/blessed

bṛndāvanam — to Vṛndāvana

agāt — went

hariḥ — Hari

evam — thus

prabhāte — in the morning

govindalīlām — the pastimes of Govinda

tu — indeed

hṛdi — in the heart

bhāvayet — one should meditate

iti mātrā abhyanujñātaḥ hariḥ bṛndāvanam agāt, evaṃ prabhāte govindalīlāṃ hṛdi bhāvayet,

• iti mātrā abhyanujñātaḥ hariḥ bṛndāvanam agāt — thus permitted by His mother, Hari went to Vṛndāvana
• evaṃ prabhāte govindalīlāṃ hṛdi bhāvayet — in this way, one should meditate upon the morning pastimes of Govinda in one's heart

• The verse concludes the meditation on the morning pastimes, providing a clear instruction for the practitioner.
• The "meditation in the heart" (hṛdi bhāvayet) is the core practice of the Vaiṣṇava tradition, internalizing the external pastimes of the Lord.
• This verse reinforces the importance of the morning pastimes as a subject for constant remembrance and devotion.