पूर्वाह्नलीलाभावनावर्णनPūrvāhnalīlābhāvanāvarṇanam

Having set out from Gokula, Kṛṣṇa slowly proceeded to Vṛndāvana, surrounded by many cowherd boys carrying horns and staffs.

gokulātprasthitaḥ kṛṣṇo vṛndāvanamagācchanaiḥ |

śṛṅgavetradharairgopabālakairbahubhirvṛtaḥ ||1||

gokulāt -- from Gokula

prasthitaḥ -- having set out

kṛṣṇaḥ -- Kṛṣṇa

vṛndāvanam -- to Vṛndāvana

agāt -- went

śanaiḥ -- slowly

śṛṅgavetradharaiḥ -- carrying horns and staffs

gopabālakaiḥ -- by cowherd boys

bahubhiḥ -- many

vṛtaḥ -- surrounded

kṛṣṇaḥ gokulāt prasthitaḥ śanaiḥ vṛndāvanam agāt, bahubhiḥ śṛṅgavetradharaiḥ gopabālakaiḥ vṛtaḥ.

• The verse establishes the pastoral setting of Kṛṣṇa’s youth, emphasizing the companionship of the cowherd boys.
• The use of 'śṛṅga' (horn) and 'vetra' (staff) highlights the traditional accoutrements of the Vraja-gopas, symbolizing their simple, rustic life.

Dancing on the paths with the cowherds, adorned with tinkling bells, wearing yellow garments, the glorious youth had curly locks of hair.

nṛtyan mārgeṣu gopālaiḥ kvaṇat-kiṅkiṇi-bhūṣitaḥ |

pītāmbara-dharaḥ śrīmān kiśoraḥ kuṭilālakaḥ ||2||

nṛtyan -- dancing

mārgeṣu -- on the paths/roads

gopālaiḥ -- with the cowherds

kvaṇat -- tinkling/sounding

kiṅkiṇi -- small bells

bhūṣitaḥ -- adorned

pītāmbara-dharaḥ -- wearing yellow garments

śrīmān -- glorious/beautiful

kiśoraḥ -- youth/adolescent

kuṭilālakaḥ -- having curly locks of hair

(saḥ) gopālaiḥ mārgeṣu nṛtyan, kvaṇat-kiṅkiṇi-bhūṣitaḥ, pītāmbara-dharaḥ, śrīmān, kuṭilālakaḥ kiśoraḥ (asti).

• The verse emphasizes the aesthetic beauty (śrīmān) and youthful charm (kiśora) of the divine, typical of Kṛṣṇa-bhakti literature.
• The imagery of 'kvaṇat-kiṅkiṇi' (tinkling bells) highlights the auditory dimension of the divine dance, common in descriptions of the Lord's childhood pastimes.

Hari, who holds a flute and a cane in his hands and enchants the three worlds, is praised with devotion by the hosts of Siddhas and Devas stationed in the sky.

muralīvetrahastaśca trijaganmohano hariḥ |

antarikṣasthitairbhaktyā siddhāmaragaṇairnutaḥ ||3||

मुरलीवेत्रहस्तः -- holding a flute and a cane in his hands

च -- and

त्रिजगन्मोहनः -- the enchanter of the three worlds

हरिः -- Hari (Lord Krishna)

अन्तरिक्षस्थितैः -- stationed in the sky/space

भक्त्या -- with devotion

सिद्धामरगणैः -- by hosts of Siddhas and Devas

नुतः -- praised

मुरलीवेत्रहस्तः त्रिजगन्मोहनः हरिः च अन्तरिक्षस्थितैः सिद्धामरगणैः भक्त्या नुतः ।

• The description of the 'vetra' (cane) identifies the Lord in his pastoral aspect as a cowherd.
• The 'antarikṣasthitaiḥ' (those stationed in the sky) highlights the cosmic reverence shown by celestial beings toward the earthly manifestation of the Divine.

White, pink, copper-colored, and tawny cows, pleasing to the sight, variegated in color and accompanied by their calves, were honored in the midst of the herd.

śvetāśca pāṭalāstāmrāḥ kapilā darśanapriyāḥ |

citravarṇāḥ savatsāśca saṅghamadhye'bhipūjitāḥ ||4||

śvetāḥ -- white (cows)

ca -- and

pāṭalāḥ -- pink/pale red

tāmrāḥ -- copper-colored

kapilāḥ -- tawny/reddish-brown

darśanapriyāḥ -- pleasing to the sight

citravarṇāḥ -- variegated in color

savatsāḥ -- with calves

ca -- and

saṅghamadhye -- in the midst of the herd

abhipūjitāḥ -- (they were) worshipped/honored

śvetāḥ, pāṭalāḥ, tāmrāḥ, kapilāḥ, darśanapriyāḥ, citravarṇāḥ, savatsāḥ ca (gāvaḥ) saṅghamadhye abhipūjitāḥ.

• The verse highlights the aesthetic and ritual significance of cows, categorizing them by color and maternal status.
• The term 'abhipūjitāḥ' suggests that these animals were held in high esteem, reflecting the cultural reverence for cattle in ancient Indian society.

The cows, having udders like pots and being most virtuous, were surrounded by great oxen and bulls; they were anointed with turmeric and saffron, and adorned with various ornaments.

kuṇḍodhnyashca mahāsādhyo mahokṣairvṛṣabhairvṛtāḥ |

haridrākuṅkumāliptā nānābharaṇabhūṣitāḥ ||5||

kuṇḍodhnyāḥ -- those having udders like pots

ca -- and

mahāsādhyāḥ -- very virtuous (cows)

mahokṣaiḥ -- by great oxen

vṛṣabhaiḥ -- and bulls

vṛtāḥ -- surrounded

haridrā -- with turmeric

kuṅkuma -- and saffron (kuṅkuma)

āliptāḥ -- anointed

nānā -- various

ābharaṇa -- ornaments

bhūṣitāḥ -- adorned

kuṇḍodhnyāḥ mahāsādhyāḥ ca mahokṣaiḥ vṛṣabhaiḥ vṛtāḥ, haridrākuṅkumāliptāḥ nānābharaṇabhūṣitāḥ (tāḥ gāvaḥ).

• The term 'kuṇḍodhnī' describes cows with large, pot-like udders, traditionally signifying high milk yield and health.
• The description of cows being anointed and adorned highlights their sacred status and the prosperity of the household or kingdom being described.

Thousands of cows follow Govinda; in the same way, the Vraja maidens, headed by Rādhikā, who are the very embodiments of love, also follow Him.

anugacchanti govindaṃ dhenavastu sahasraśaḥ |

tathaiva premarūpiṇyo vallavyo rādhikādayaḥ ||6||

anugacchanti -- follow

govindam -- Govinda

dhenavah -- cows

tu -- and/indeed

sahasraśah -- by the thousands

tatha -- in the same way

eva -- indeed

premarūpinyah -- embodiments of love

vallavyah -- the gopīs (Vraja maidens)

rādhikā-ādayah -- headed by Rādhikā

dhenavah tu sahasraśah govindam anugacchanti, tatha eva rādhikā-ādayah vallavyah premarūpinyah (anugacchanti).

• The verse establishes a parallel between the cows (dhenu) and the gopīs, both drawn to Govinda by their inherent nature.
• The term 'premarūpiṇyaḥ' emphasizes that the gopīs are not merely lovers, but the personification of divine love (prema) itself.

Thus, the divine Lord, the enchanter of Vraja, reached beautiful Vṛndāvana, playing his flute sweetly, melodiously, and gently.

evaṃ vṛndāvanaṃ ramyaṃ bhagavān vrajamohanaḥ |

agamadvādayan veṇuṃ madhuraṃ susvaraṃ mṛdu ||7||

evaṃ -- thus

vṛndāvanaṃ -- Vṛndāvana

ramyaṃ -- beautiful

bhagavān -- the divine Lord

vrajamohanaḥ -- the enchanter of Vraja

agamad -- went/reached

vādayan -- playing

veṇuṃ -- the flute

madhuraṃ -- sweetly

susvaraṃ -- melodiously

mṛdu -- gently

evaṃ bhagavān vrajamohanaḥ veṇuṃ madhuraṃ susvaraṃ mṛdu vādayan ramyaṃ vṛndāvanaṃ agamat.

• The term 'Vrajamohana' highlights the Lord's specific role as the captivator of the hearts of the Vraja-vāsīs.
• The description of the flute playing (madhuraṃ, susvaraṃ, mṛdu) emphasizes the aesthetic and devotional atmosphere of the divine abode.

Then, having left the cows on the green pasture, Śrīdāma, Vṛṣabha, and the others, filled with supreme bliss, played in the company of Rāma and Kṛṣṇa.

tyaktvā dhenūḥ śādvale'tha śrīdāmavṛṣabhādayaḥ |

vijahruḥ paramānandā rāmakṛṣṇasamanvitāḥ ||8||

tyaktvā -- having left

dhenūḥ -- the cows

śādvale -- on the green pasture

atha -- then

śrīdāmavṛṣabhādayaḥ -- Śrīdāma, Vṛṣabha, and others

vijahruḥ -- played

paramānandāḥ -- filled with supreme bliss

rāmakṛṣṇasamanvitāḥ -- accompanied by Rāma and Kṛṣṇa

atha śrīdāmavṛṣabhādayaḥ dhenūḥ śādvale tyaktvā paramānandāḥ rāmakṛṣṇasamanvitāḥ vijahruḥ.

• The term 'śādvala' specifically denotes a grassy, verdant meadow, highlighting the idyllic setting of Vraja.
• 'Paramānandāḥ' emphasizes that the play (līlā) of the cowherd boys is not mere mundane recreation but a state of spiritual ecstasy derived from the presence of the Divine.

Thereupon, some began to dance while blowing conches and horns. Some boys played the "tooth-vīṇā" (by chattering their teeth), and others clapped their hands.

kecicchankhañca śṛṅgañca vādayanto naṭantyatha |

kecidbālā dantavīṇāṃ kecidhastavighaṭṭanam ||9||

केचित् -- some

शङ्खम् -- conch

च -- and

शृङ्गम् -- horn

च -- and

वादयन्तः -- playing

नटन्ति -- dance

अथ -- then/thereupon

केचित् -- some

बालाः -- boys

दन्तवीणाम् -- tooth-vīṇā (chattering teeth)

केचित् -- some

हस्तविघट्टनम् -- clapping of hands

अथ केचित् शङ्खं च शृङ्गं च वादयन्तः नटन्ति । केचित् बालाः दन्तवीणां (वादयन्ति), केचित् हस्तविघट्टनम् (कुर्वन्ति) ।

• The term dantavīṇā is a poetic metaphor describing the rhythmic chattering of teeth, often used in descriptions of exuberant or playful crowds.
• Hastavighaṭṭana literally refers to the striking together of hands, signifying the rhythmic clapping that accompanies festive dancing.

Some played bronze cymbals, while others, chanting "Jaya! Jaya!", also danced. Some sang melodiously.

kāṃsyatālaṃ tathā kecit kecij-jaya jayeti ca |

kīrtayanto’pi nṛtyanti kecid-gāyanti susvaram ||10||

कांस्यतालं -- bronze cymbals

तथा -- and/also

केचित् -- some (people)

केचित् -- some (people)

जय -- victory

जय -- victory

इति -- thus

च -- and

कीर्तयन्तः -- chanting/praising

अपि -- even/also

नृत्यन्ति -- dance

केचित् -- some (people)

गायन्ति -- sing

सुस्वरम् -- melodiously

केचित् कांस्यतालं (वादयन्ति), तथा केचित् 'जय जय' इति कीर्तयन्तः अपि नृत्यन्ति, केचित् सुस्वरं गायन्ति।

• The verse depicts a scene of ecstatic devotional performance (sankirtana), highlighting the variety of musical and physical expressions of bhakti.
• The use of "kāṃsyatāla" (bronze cymbals) provides a rhythmic foundation, illustrating the traditional instrumentation used in congregational chanting.

In their midst, Kṛṣṇa, accompanied by Balarāma, was adorned with forest flowers, new sprouts, guñjā beads, and other such ornaments.

teṣāṃ madhye tathā kṛṣṇo balabhadreṇa saṃyutaḥ |

vanapuṣpaiḥ kisalayairguñjādibhiralaṅkṛtaḥ ||11||

teṣām -- of them

madhye -- in the midst

tathā -- also/thus

kṛṣṇaḥ -- Kṛṣṇa

balabhadreṇa -- with Balarāma

saṃyutaḥ -- joined/accompanied

vanapuṣpaiḥ -- with forest flowers

kisalayaiḥ -- with new sprouts

guñjādibhiḥ -- with guñjā beads and others

alaṅkṛtaḥ -- adorned

teṣāṃ madhye tathā kṛṣṇaḥ balabhadreṇa saṃyutaḥ vanapuṣpaiḥ kisalayaiḥ guñjādibhiḥ ca alaṅkṛtaḥ (āsīt).

• The verse highlights the pastoral aesthetic of Kṛṣṇa and Balarāma, emphasizing their natural, rustic beauty.
• The term 'guñjā' refers to the bright red and black seeds of the Abrus precatorius, a signature ornament of the cowherd boys of Vraja.

With His limbs painted with various colored mineral pigments such as red ochre, the Lord lifts one lotus-foot and dances with great joy.

dhātubhiścitritāṅgaśca nānāvarṇaiśca gairikaiḥ |

utthāpyaikaṃ ca pādābjaṃ sānandaṃ nṛtyati prabhuḥ ||12||

धातुभिः -- with minerals

चित्रिताङ्गः -- (He) whose limbs are painted/decorated

च -- and

नानावर्णैः -- of various colors

च -- and

गैरिकैः -- with red ochre (and other minerals)

उत्थाप्य -- having lifted

एकम् -- one

च -- and

पादाब्जम् -- lotus-foot

सानन्दम् -- with joy

नृत्यति -- dances

प्रभुः -- the Lord

नानावर्णैः गैरिकैः धातुभिः च चित्रिताङ्गः प्रभुः एकं पादाब्जम् उत्थाप्य सानन्दं नृत्यति ।

• The imagery of the Lord painting His limbs with gairika (red ochre) highlights the aesthetic and playful (līlā) nature of the Divine.
• The term pādābja (lotus-foot) is a classic metaphor emphasizing the softness, beauty, and auspiciousness of the Lord's feet.

The boys, surrounding Them on all sides, dancing and laughing, delight those two (Kṛṣṇa and Rāma) by calling out, "Jaya Kṛṣṇa! Jaya Rāma!"

nṛtyantaśca hasantaśca parito bālakā vṛtāḥ |

jaya kṛṣṇeti rāmeti tāvapyāhlādayanti te ||13||

nṛtyantaḥ -- dancing

ca -- and

hasantaḥ -- laughing

ca -- and

paritaḥ -- all around

bālakāḥ -- the boys

vṛtāḥ -- surrounding (them)

jaya -- victory (be to)

kṛṣṇa -- Kṛṣṇa

iti -- thus

rāma -- Rāma

iti -- thus

tau -- those two

api -- also

āhlādayanti -- they delight

te -- they

te bālakāḥ paritaḥ vṛtāḥ nṛtyantaḥ ca hasantaḥ ca 'jaya kṛṣṇa iti rāma iti' (iti uktvā) tau api āhlādayanti.

• The verse captures the spontaneous, joyful atmosphere of Vraja where the cowherd boys interact with Kṛṣṇa and Balarāma as equals.
• The use of the particle 'iti' marks the direct speech of the boys, emphasizing their affectionate and celebratory mood.

Then, tired from dancing, the two took shelter in the shade of a banyan tree. Seeing this, all the boys then gathered around them.

atha śrāntau nartanena vaṭacchāyāmupāśritau |

vilokya bālakāḥ sarve parivabrustadā ca tau ||14||

अथ -- then

श्रान्तौ -- (the two) tired

नर्तनेन -- by dancing

वटच्छायाम् -- the shade of the banyan tree

उपाश्रितौ -- having taken shelter

विलोक्य -- having seen

बालकाः -- the boys

सर्वे -- all

परिवव्रुः -- surrounded

तदा -- then

च -- and

तौ -- them (the two)

अथ नर्तनेन श्रान्तौ तौ वटच्छायाम् उपाश्रितौ (इति) विलोक्य सर्वे बालकाः तदा तौ परिवव्रुः ।

• The dual form śrāntau and upāśritau refers to the two protagonists (likely Kṛṣṇa and Balarāma).
• The verb parivabruḥ (from the root vṛ) vividly depicts the boys encircling the divine brothers in a gesture of affection and curiosity.

They massaged their feet and offered them coconut water. Other boys fanned them with fans and offered praises.

pādasaṃvāhanaṃ cakrurnālikerarasaṃ daduḥ |

anye ca vyajanairbālā vījayantaśca tuṣṭuvuḥ ||15||

पादसंवाहनम् -- foot-massage

चक्रुः -- (they) performed

नालिकेररसम् -- coconut water

ददुः -- (they) gave

अन्ये -- others

च -- and

व्यजनैः -- with fans

बालाः -- boys

वीजयन्तः -- fanning

च -- and

तुष्टुवुः -- praised

(ते) पादसंवाहनं चक्रुः नालिकेररसं ददुः । अन्ये बालाः च व्यजनैः वीजयन्तः तुष्टुवुः ।

• The verse depicts a scene of humble service (sevā) performed by the boys toward the subjects.
• The use of 'nālikera-rasa' (coconut water) highlights the refreshing and hospitable nature of the service provided.

Then Govinda, along with Rāma and those sons of the cowherds, arrived at the path to Mathurā and performed the pastime of demanding a toll (dāna-līlā).

atha rāmeṇa govindastaiḥ sākaṃ gopanandanaiḥ |

madhurāmārghamāgatya dānalīlāṃ cakāra saḥ ||16||

atha -- then

rāmeṇa -- with Rāma

govindaḥ -- Govinda

taiḥ -- with those

sākam -- together

gopanandanaiḥ -- sons of the cowherds

madhurāmārgham -- the path to Mathurā

āgatya -- having arrived at

dānalīlām -- the pastime of demanding a toll

cakāra -- performed

saḥ -- He

atha govindaḥ rāmeṇa taiḥ gopanandanaiḥ sākaṃ madhurāmārgham āgatya dānalīlām cakāra saḥ.

• Dāna-līlā refers to the playful incident where Krishna demands a toll from the Gopis carrying dairy products.
• The mention of "Gopanandanaiḥ" emphasizes the pastoral setting and the companions of Krishna during his Vraja pastimes.

Obstructing the Gopi travelers and seizing their pots of yogurt, Mādhava spoke sweet words in jest.

pathikā gopikā rundhan dadhikuṁbhāṁstathā haran |

abravīnmadhuraṁ vākyaṁ parihāsena mādhavaḥ ||17||

pathikāḥ -- travelers (on the path)

gopikāḥ -- cowherd women

rundhan -- obstructing/stopping

dadhikuṁbhān -- pots of yogurt

tathā -- and/also

haran -- seizing/stealing

abravīt -- spoke

madhuram -- sweet

vākyam -- words/sentence

parihāsena -- in jest/playfully

mādhavaḥ -- Mādhava (Krishna)

mādhavaḥ pathikāḥ gopikāḥ rundhan tathā dadhikuṁbhān haran parihāsena madhuraṁ vākyaṁ abravīt.

• The term 'Mādhava' (Lord of Fortune/Husband of Lakshmi) is used here to contrast his divine status with his playful, mischievous behavior.
• The verse highlights the līlā (divine play) aspect of Krishna, where his "theft" is perceived not as a crime, but as an intimate interaction with his devotees.

How do you go fearlessly in this forest of mine? You must give a tax and then go, for passage in my forest.

asminmama vane yūyaṃ kathaṃ gacchatha nirbhayāḥ |

yūyaṃ dattvā karaṃ yāta gamanānmama kānane ||18||

asmin -- in this

mama -- my

vane -- forest

yūyam -- you (plural)

katham -- how

gacchatha -- go

nirbhayāḥ -- fearless

yūyam -- you (plural)

dattvā -- having given

karam -- tax/tribute

yāta -- go

gamanāt -- for passage/going

mama -- my

kānane -- in the forest

yūyaṃ asmin mama vane kathaṃ nirbhayāḥ gacchatha? yūyaṃ mama kānane gamanāt karaṃ dattvā yāta.

• The verse establishes the authority of the speaker over the forest, framing the act of travel as a taxable privilege.
• The term 'kara' (tax) implies a feudal or sovereign claim, often used in classical literature to denote the right of passage granted by a ruler.

Give me my favorite fresh butter and then go without fear. If not, I will not leave the path; what will you do, O Gopis?

mameṣṭaṃ navanītaṃ tu dattvā gacchata nirbhayāḥ |

no cenmārgaṃ na tyajeyaṃ kiṃ kariṣyatha gopikāḥ ||19||

mama -- my

iṣṭam -- favorite/desired

navanītam -- fresh butter

tu -- and/but

dattvā -- having given

gacchata -- (you all) go

nirbhayāḥ -- fearless

no cet -- if not

mārgam -- the path

na tyajeyam -- I will not leave

kim -- what

kariṣyatha -- will you do

gopikāḥ -- O Gopis

mama iṣṭaṃ navanītaṃ dattvā nirbhayāḥ gacchata. no cet mārgam na tyajeyam, gopikāḥ kiṃ kariṣyatha?

• This verse captures the playful, mischievous nature of Krishna (Līlā) in his interactions with the Gopis.
• The tone is one of lighthearted extortion, highlighting the intimate and informal relationship between the Lord and his devotees.

Seeing Govinda, whose form enchants the universe, speaking thus, the Gopis, with great joy, gave him fresh butter and yogurt.

vadantam iti govindaṃ jaganmohanavigraham |

gopyas taṃ vīkṣya sānandaṃ navanītaṃ dadur dadhi ||

vadantam -- speaking

iti -- thus

govindam -- Govinda (Krishna)

jaganmohanavigraham -- whose form enchants the universe

gopyah -- the Gopis

tam -- him

vīkṣya -- having seen

sānandam -- with great joy

navanītam -- fresh butter

daduh -- gave

dadhi -- yogurt

iti vadantam jaganmohanavigraham govindam tam vīkṣya gopyah sānandam navanītam dadhi daduh.

• The term jaganmohanavigraha highlights the aesthetic and spiritual magnetism of Krishna, which captivates the entire world.
• The act of offering navanīta (fresh butter) and dadhi (yogurt) symbolizes the intimate, loving devotion (bhakti) of the Gopis toward Krishna.

Gopāla, the lord of cows, calves, and bulls, caused them to be bathed. He then began the dṛti-līlā (water-splashing pastime) with the Gopis on the bank of the Yamunā.

snāpayāmāsa gopālo govatsavṛṣabhānāthaḥ |

dṛtilīlāṃ samārabhe gopībhiḥ sūryajātaṭe ||21||

snāpayāmāsa -- caused to bathe

gopālaḥ -- the protector of cows (Krishna)

govatsavṛṣabhānāthaḥ -- the lord of cows, calves, and bulls

dṛtilīlām -- the water-splashing pastime

samārabhe -- began

gopībhiḥ -- with the Gopis

sūryajātaṭe -- on the bank of the Yamuna (daughter of the Sun)

govatsavṛṣabhānāthaḥ gopālaḥ (tān) snāpayāmāsa; (saḥ) sūryajātaṭe gopībhiḥ saha dṛtilīlām samārabhe.

• The term 'sūryajā' refers to the Yamuna river, who is mythologically considered the daughter of the Sun god (Surya).
• 'Dṛti-līlā' refers to a specific playful activity involving splashing water, characteristic of the intimate pastimes (līlā) of Krishna in Vraja.

Running after Govinda, who was accompanied by Śrī Lalitā, Rādhikā took up a water skin and, out of love, sprinkled gentle water upon him.

govindamanudhāvantī premnā śrīlalitānugam |

siṣeca komalaṃ vāri dṛtimādāya rādhikā ||22||

govindam -- Govinda (Krishna)

anudhāvantī -- following/running after

premnā -- with love

śrī-lalitā-anugam -- accompanied by Śrī Lalitā

siṣeca -- sprinkled

komalam -- gentle/soft

vāri -- water

dṛtim -- a water skin/bag

ādāya -- having taken

rādhikā -- Rādhikā

rādhikā śrīlalitānugam govindam anudhāvantī, dṛtim ādāya premnā komalaṃ vāri siṣeca.

• The term 'dṛti' specifically refers to a leather water bag or skin, often used by cowherds.
• The act of sprinkling water is a gesture of cooling and affection, highlighting the intimate service (sevā) Rādhikā performs for Krishna.

Then Mādhava, grasping Rādhā's hand with his own, sprinkled the dark water from the water-skin with his other hand.

tadā rādhākaraṃ gṛhṇan svakareṇa tu mādhavaḥ |

kareṇaikenābhyaṣiñcad dūtinā śyāmalaṃ jalam ||23||

tadā -- then

rādhākaraṃ -- Rādhā's hand

gṛhṇan -- grasping

svakareṇa -- with his own hand

tu -- and/then

mādhavaḥ -- Mādhava (Kṛṣṇa)

kareṇa -- with (the other) hand

ekena -- one

abhyaṣiñcat -- sprinkled

dūtinā -- from the water-skin (dūti)

śyāmalaṃ -- dark/bluish

jalam -- water

tadā mādhavaḥ svakareṇa rādhākaraṃ gṛhṇan, ekena kareṇa dūtinā śyāmalaṃ jalam abhyaṣiñcat.

• The term 'dūti' here refers to a leather bag or water-skin used for carrying liquids, distinct from the common meaning of 'messenger'.
• The verse highlights the intimate and playful nature of the divine couple's interaction, emphasizing Kṛṣṇa's dexterity in managing both Rādhā and the water-skin simultaneously.

Then, all the Gopis, out of love, simultaneously showered Govinda, the flute-bearer, with waters of various colors.

tadā tu gopikāḥ sarvā nānāvarṇairjalairapi |

yugapadwavṛṣuḥ premnā govindaṃ muralīdharam ||24||

tadā -- then

tu -- and/but

gopikāḥ -- the Gopis

sarvāḥ -- all

nānā-varṇaiḥ -- of various colors

jalaiḥ -- with waters

api -- also/even

yugapat -- simultaneously

avavṛṣuḥ -- showered/rained upon

premnā -- with love

govindam -- Govinda (Krishna)

muralī-dharam -- the flute-bearer

tadā tu sarvāḥ gopikāḥ nānāvarṇaiḥ jalaiḥ api yugapat premnā govindaṃ muralīdharam avavṛṣuḥ.

• The act of showering colored water (reminiscent of Holi) symbolizes the spontaneous overflow of devotion (bhakti).
• The term 'yugapat' (simultaneously) highlights the unified, collective consciousness of the Gopis in their service to Krishna.

Then, quickly taking up a water-skin, Hari, laughing, sprinkled the Gopis with leaf-colored water, together with the laughing Rādhā.

tvarayā dṛtim ādāya patra-varṇaṃ jalaṃ tadā |

siṣeca prahasan gopīr hasantyā rādhayā hariḥ ||

tvarayā -- with haste

dṛtim -- a water-skin

ādāya -- having taken

patra-varṇam -- leaf-colored (green)

jalam -- water

tadā -- then

siṣeca -- sprinkled

prahasan -- laughing loudly

gopīḥ -- the Gopis

hasantyā -- who was laughing

rādhayā -- with Rādhā

hariḥ -- Hari (Krishna)

tadā hariḥ tvarayā dṛtim ādāya, hasantyā rādhayā saha, prahasan gopīḥ patra-varṇaṃ jalaṃ siṣeca.

• tadā: then
• hariḥ: Hari
• tvarayā: with haste
• dṛtim ādāya: having taken a water-skin
• hasantyā rādhayā saha: with the laughing Rādhā
• prahasan: laughing (himself)
• gopīḥ: the Gopis
• patra-varṇaṃ jalaṃ: leaf-colored water
• siṣeca: sprinkled

• The term 'patra-varṇa' (leaf-colored) suggests the use of herbal dyes or colored water, typical of the Holi or spring festivities often depicted in such narratives.
• The mutual laughter between Krishna and Rādhā emphasizes the playful, intimate nature of their divine pastimes (līlā).

Thus, the Gopis and Rādhā, playing with the One who sports in Vṛndāvana, became filled with supreme bliss and did not remember their own homes.

evaṃ gopyaśca rādhā ca vṛndāvanavihāriṇā |

krīḍantyaḥ paramānandā nātmagārāṇi sasmaruḥ ||26||

evaṃ -- thus

gopyaḥ -- the Gopis

ca -- and

rādhā -- Rādhā

ca -- and

vṛndāvanavihāriṇā -- with the one who sports in Vṛndāvana

krīḍantyaḥ -- playing

paramānandāḥ -- filled with supreme bliss

na -- not

ātmagārāṇi -- their own homes

sasmaruḥ -- remembered

evaṃ vṛndāvanavihāriṇā krīḍantyaḥ gopyaḥ rādhā ca paramānandāḥ ātmagārāṇi na sasmaruḥ.

• The term 'vṛndāvanavihāriṇā' highlights Kṛṣṇa’s eternal nature as the divine enjoyer of the Vṛndāvana forest.
• The forgetting of 'ātmagārāṇi' (one's own homes) signifies the total transcendence of worldly attachments and social duties in the presence of the Divine.

At that time, the sound of the anklets and bracelets of those Gopis, mingled with Kṛṣṇa’s jesting, became a source of delight to the ears.

tadā tāsāṃ tu gopīnāṃ kiṅkiṇī-kaṅkaṇa-svanaḥ |

kṛṣṇasya parihāsena karṇānanda-prado 'bhavat ||27||

tadā -- at that time

tāsām -- of those

tu -- and/indeed

gopīnām -- of the Gopis

kiṅkiṇī -- small bells (anklets)

kaṅkaṇa -- bracelets

svanaḥ -- sound

kṛṣṇasya -- of Kṛṣṇa

parihāsena -- by/with jesting

karṇa-ānanda-pradaḥ -- giver of joy to the ears

abhavat -- became

tadā tāsāṃ gopīnāṃ kiṅkiṇī-kaṅkaṇa-svanaḥ kṛṣṇasya parihāsena karṇānanda-pradaḥ abhavat.

• The verse highlights the auditory beauty of the Rāsa-līlā, where the mechanical sounds of ornaments harmonize with the divine playfulness of Kṛṣṇa.
• The term 'parihāsa' (jesting/teasing) suggests the intimate and joyful atmosphere of the divine dance.

Having left the Gopis, Govinda bathed in the waters of the Yamuna and was adorned with clothes and ornaments sent by Yashoda.

visṛjya gopīr govindaḥ sasnau ca yamunājale |

yaśodāpreṣitair vastrair bhūṣaṇair abhimaṇḍitaḥ ||28||

visṛjya -- having left/dismissed

gopīḥ -- the Gopis

govindaḥ -- Govinda (Krishna)

sasnau -- bathed

ca -- and

yamunājale -- in the water of the Yamuna

yaśodāpreṣitaiḥ -- sent by Yashoda

vastraiḥ -- with clothes

bhūṣaṇaiḥ -- with ornaments

abhimaṇḍitaḥ -- adorned

govindaḥ gopīḥ visṛjya yamunājale sasnau ca, yaśodāpreṣitaiḥ vastraiḥ bhūṣaṇaiḥ ca abhimaṇḍitaḥ.

• The term 'Govinda' emphasizes Krishna's role as the protector of cows and the senses, often used in contexts of his pastimes in Vraja.
• The act of bathing in the Yamuna signifies ritual purification following the intense emotional engagement with the Gopis.

Situated in the midst of His circle of friends headed by Śrīdāma and Stokakṛṣṇa, He performed various pastimes that are rare even for Brahmā and the other gods.

śrīdāmastokakṛṣṇādi suhṛnmaṇḍalamadhyagaḥ |

cakāra vividhā līlā brahmādisuradurlabhāḥ ||29||

śrīdāmastokakṛṣṇādi -- headed by Śrīdāma and Stokakṛṣṇa

suhṛnmaṇḍalamadhyagaḥ -- situated in the midst of the circle of friends

cakāra -- performed

vividhāḥ -- various

līlāḥ -- pastimes

brahmādisuradurlabhāḥ -- rare even for the gods headed by Brahmā

śrīdāmastokakṛṣṇādi-suhṛnmaṇḍalamadhyagaḥ (saḥ) brahmādisuradurlabhāḥ vividhāḥ līlāḥ cakāra.

• The verse highlights the intimacy of Kṛṣṇa’s pastimes, which are inaccessible to the celestial beings who typically seek His opulence.
• The term 'suhṛnmaṇḍala' emphasizes the sweetness of His life in Vraja, where He is surrounded by equals rather than worshippers.

They are not initiated with the Gāyatrī mantra, nor have they undergone the sacred thread ceremony, nor are they initiated by a guru. Oh, how did these cowherd boys attain such great fortune?

na gāyatrī-mantra-yuktā nopanītā na dīkṣitāḥ |

eṣāṃ gopāla-putrāṇām idaṃ bhāgyam aho katham ||30||

na -- not

gāyatrī-mantra-yuktāḥ -- endowed with the Gāyatrī mantra

na -- nor

upanītāḥ -- initiated with the sacred thread (upanayana)

na -- nor

dīkṣitāḥ -- initiated (by a guru)

eṣām -- of these

gopāla-putrāṇām -- cowherd boys

idam -- this

bhāgyam -- fortune

aho -- oh

katham -- how

(ete) na gāyatrī-mantra-yuktāḥ, na upanītāḥ, na dīkṣitāḥ (santi); eṣāṃ gopāla-putrāṇām idaṃ bhāgyam aho katham (asti)?

• The verse highlights the contrast between traditional Vedic ritual qualifications and the spontaneous grace received by the cowherd boys.
• It emphasizes that devotion (bhakti) transcends formal religious requirements and social status.

Thus, in the sky, Brahmā and the other gods, being ever astonished, praised Govinda, Gokula, the Gopis, and the cowherd boys.

ity antarikṣe brahmādyā devā nityaṃ tu vismitāḥ |

govindaṃ gokulaṃ gopīr gopālān api tuṣṭuvuḥ ||31||

iti -- thus

antarikṣe -- in the sky/space

brahmādyāḥ -- Brahmā and others

devāḥ -- the gods

nityam -- constantly/always

tu -- indeed

vismitāḥ -- astonished

govindam -- Govinda (Krishna)

gokulam -- Gokula (the abode)

gopīḥ -- the Gopis

gopālān -- the cowherd boys

api -- also

tuṣṭuvuḥ -- praised

iti antarikṣe brahmādyāḥ devāḥ nityaṃ vismitāḥ santaḥ govindaṃ gokulaṃ gopīḥ gopālān api tuṣṭuvuḥ.

• The verse highlights the divine recognition of Krishna's transcendental nature, extending the praise not just to Him, but to His environment (Gokula) and associates.
• The term 'vismitāḥ' (astonished) underscores the gods' realization of the Supreme Lord's hidden majesty within His human-like pastimes.

In this way, one should remember the pastimes of the Lord during the forenoon. By remembering the pastimes of Govinda, one attains supreme bliss.

evaṃ pūrvāhṇakāle tu līlāṃ bhagavataḥ smaret |

smaran govindalīlāyāṃ paramānandamāpnuyāt ||32||

evaṃ -- in this way

pūrvāhṇakāle -- in the forenoon

tu -- indeed

līlām -- pastimes

bhagavataḥ -- of the Lord

smaret -- one should remember

smaran -- remembering

govindalīlāyām -- in the pastimes of Govinda

paramānandam -- supreme bliss

āpnuyāt -- one attains

evaṃ pūrvāhṇakāle tu bhagavataḥ līlāṃ smaret | govindalīlāyāṃ smaran paramānandam āpnuyāt ||

• The verse emphasizes the practice of smaraṇa (remembrance) as a specific devotional discipline tied to the divisions of the day.
• "Govinda" is used here to highlight the sweetness of the Lord’s pastimes, which are the primary focus of meditation for the devotee.