अपराह्नलीलाभावनावर्णनAparāhnalīlābhāvanāvarṇanam

Having seen Govinda arrive at the bower of creepers, the gopīs, together with Rādhā, spoke to Him saying, "Come, welcome, O Kṛṣṇa."

gopikā vīkṣya govindaṃ latāgṛhamupāgatam |

āgaccha svāgataṃ kṛṣṇetyabruvan rādhayā saha ||1||

gopikā — the gopīs

vīkṣya — having seen

govindam — Govinda

latāgṛham — to the bower of creepers

upāgatam — arrived

āgaccha — come

svāgatam — welcome

kṛṣṇa — O Kṛṣṇa

iti — thus

abruvan — they spoke

rādhayā — with Rādhā

saha — together

gopikā, latāgṛham upāgatam govindam vīkṣya, rādhayā saha, āgaccha svāgataṃ kṛṣṇa iti abruvan,

• gopikā — the gopīs
• latāgṛham upāgatam govindam vīkṣya — having seen Govinda who had arrived at the bower of creepers
• rādhayā saha, āgaccha svāgataṃ kṛṣṇa iti abruvan — together with Rādhā, they spoke saying, "Come, welcome, O Kṛṣṇa"

• The scene establishes the intimacy of the afternoon pastimes (aparāhna-līlā) within the secluded bower.
• The collective greeting by the gopīs and Rādhā highlights the communal nature of their devotional service.
• The term "latāgṛha" signifies the natural, private sanctuary where the divine couple engages in intimate exchange.

Then, having brought it from the hand of her friend, Rādhā gave Kṛṣṇa the betel leaf scented with saffron, camphor, musk, and other fragrances.

atha kesarakarpūrakastūryādisugandhitam |

tāmbūlaṃ pradadau rādhā cānīya svasakhīkarāt ||2||

atha — then

kesara — saffron

karpūra — camphor

kastūrī — musk

ādi — and others

sugandhitam — scented with

tāmbūlam — betel leaf

pradadau — gave

rādhā — Rādhā

ca — and

ānīya — having brought

svasakhīkarāt — from the hand of her own friend

atha, rādhā, svasakhīkarāt ānīya, kesarakarpūrakastūryādisugandhitam tāmbūlaṃ pradadau,

• atha — then
• rādhā, svasakhīkarāt ānīya — Rādhā, having brought from the hand of her own friend
• kesarakarpūrakastūryādisugandhitam tāmbūlaṃ pradadau — gave the betel leaf scented with saffron, camphor, musk, and other substances

• The preparation of tāmbūla is a classic act of service (sevā) in the Vaiṣṇava tradition, symbolizing the offering of one's own heart.
• The specific ingredients (saffron, camphor, musk) denote the high level of refinement and aesthetic beauty in the divine pastimes.
• Rādhā’s act of receiving the item from a friend to give to Kṛṣṇa emphasizes the cooperative, loving service of the gopīs.

Kṛṣṇa’s soft lips were reddened by chewing the betel leaf given by Rādhikā, and He was also anointed with her fragrant Malaya sandalwood paste.

rādhikādattatāmbūlacarvaṇātkomalādharaḥ |

tasyāḥ sugandhamalayacandanenāpi carcitaḥ ||3||

rādhikādattatāmbūlacarvaṇāt — from chewing the betel leaf given by Rādhikā

komalādharaḥ — (His) soft lips

tasyāḥ — her

sugandhamalayacandanena — with fragrant Malaya sandalwood paste

api — also

carcitaḥ — anointed

rādhikādattatāmbūlacarvaṇāt komalādharaḥ, tasyāḥ sugandhamalayacandanena api carcitaḥ,

• rādhikādattatāmbūlacarvaṇāt komalādharaḥ — His soft lips became (red/fragrant) from chewing the betel leaf given by Rādhikā
• tasyāḥ sugandhamalayacandanena api carcitaḥ — He was also anointed with her fragrant Malaya sandalwood paste

• The physical transformation of Kṛṣṇa through Rādhā’s offerings signifies the union of their essences.
• The use of Malaya sandalwood is a traditional marker of cooling, soothing, and auspicious fragrance in devotional literature.
• This verse highlights the sensory richness (rasa) of the divine form, which is the object of the devotee's meditation.

Comfortably seated on a bed fashioned from various sprouts, Kṛṣṇa began the pastime of gambling with His beloved Rādhā.

sukhopaviṣṭaḥ paryaṅke nānāpallavakalpite |

dyūtalīlāṃ samārabhe kāntayā rādhayā saha ||4||

sukhopaviṣṭaḥ — comfortably seated

paryaṅke — on a bed

nānāpallavakalpite — fashioned from various sprouts/leaves

dyūtalīlām — the pastime of gambling/dice

samārabhe — began

kāntayā — with His beloved

rādhayā — Rādhā

saha — together

nānāpallavakalpite paryaṅke sukhopaviṣṭaḥ, kāntayā rādhayā saha dyūtalīlāṃ samārabhe,

• nānāpallavakalpite paryaṅke sukhopaviṣṭaḥ — comfortably seated on a bed fashioned from various sprouts
• kāntayā rādhayā saha dyūtalīlāṃ samārabhe — He began the pastime of gambling with His beloved Rādhā

• The "dyūta-līlā" (dice game) is a quintessential pastime of lovers, providing a playful context for competition and intimacy.
• The bed of sprouts (pallava-paryaṅka) reflects the natural, rustic, yet divine setting of Vṛndāvana.
• This verse marks the transition from preparation to active, playful engagement between the divine couple.

Then, Kṛṣṇa, His mind enchanted, was defeated by Rādhā, and she bound Him to a tree there with a flower garland.

tadā jito'bhavatkṛṣṇo rādhayā mugdhamānasaḥ |

rādhā taṃ puṣpamālyena tatra vṛkṣe babandha ha ||5||

tadā — then

jitaḥ — defeated

abhavat — became

kṛṣṇaḥ — Kṛṣṇa

rādhayā — by Rādhā

mugdhamānasaḥ — whose mind was enchanted/bewildered

rādhā — Rādhā

tam — Him

puṣpamālyena — with a flower garland

tatra — there

vṛkṣe — to a tree

babandha — bound

ha — indeed

tadā, mugdhamānasaḥ kṛṣṇaḥ rādhayā jitaḥ abhavat, rādhā taṃ puṣpamālyena tatra vṛkṣe babandha ha,

• tadā, mugdhamānasaḥ kṛṣṇaḥ rādhayā jitaḥ abhavat — then, Kṛṣṇa, whose mind was enchanted, was defeated by Rādhā
• rādhā taṃ puṣpamālyena tatra vṛkṣe babandha ha — Rādhā then bound Him to a tree there with a flower garland

• The "defeat" of Kṛṣṇa by Rādhā is a profound theological point, illustrating that the Supreme Lord is conquered by the love (prema) of His devotee.
• The use of a flower garland as a binding agent symbolizes that the only "bond" that holds the Lord is the soft, fragrant bond of devotion.
• This act mirrors the childhood pastime of Yaśodā binding Kṛṣṇa to a mortar, but here it occurs in the context of romantic love (madhura-rasa).

Having seen Him defeated and bound, the enchantress of Vraja laughed, and together with the laughing gopīs, she clapped her hands.

jitaṃ baddhaṃ ca taṃ dṛṣṭvā jahāsa vrajamohinī |

gopībhiśca hasantībhiḥ kṛtvā hastavighaṭṭanam ||6||

jitam — defeated

baddham — bound

ca — and

tam — Him

dṛṣṭvā — having seen

jahāsa — laughed

vrajamohinī — the enchantress of Vraja (Rādhā)

gopībhiḥ — with the gopīs

ca — and

hasantībhiḥ — laughing

kṛtvā — having made

hastavighaṭṭanam — clapping of hands

jitaṃ baddhaṃ ca taṃ dṛṣṭvā, vrajamohinī jahāsa, gopībhiśca hasantībhiḥ hastavighaṭṭanaṃ kṛtvā,

• jitaṃ baddhaṃ ca taṃ dṛṣṭvā, vrajamohinī jahāsa — having seen Him defeated and bound, the enchantress of Vraja laughed
• gopībhiśca hasantībhiḥ hastavighaṭṭanaṃ kṛtvā — and together with the laughing gopīs, she clapped her hands

• The term "Vrajamohinī" refers to Rādhā, who enchants the entire land of Vraja, including Kṛṣṇa Himself.
• The laughter and clapping of the gopīs represent the atmosphere of pure, unadulterated joy (ānanda) that characterizes the Vraja-līlā.
• This communal celebration of Kṛṣṇa’s "defeat" emphasizes the intimacy and lack of formal reverence in the gopīs' relationship with Him.

Then, having seen the joy of those loving gopīs, Mādhava, who is the cause of the world's joy, attained supreme joy Himself.

tadā tāsāṃ premiṇīnāmānandaṃ vīkṣya mādhavaḥ |

ānandaṃ paramaṃ lebhe jagadānandakārakaḥ ||7||

tadā — then

tāsām — of them

premiṇīnām — of the loving ones

ānandam — joy

vīkṣya — having seen

mādhavaḥ — Mādhava

ānandam — joy

paramam — supreme

lebhe — attained

jagadānandakārakaḥ — the cause of the world's joy

tadā, tāsāṃ premiṇīnām ānandaṃ vīkṣya, jagadānandakārakaḥ mādhavaḥ paramaṃ ānandaṃ lebhe,

• tadā, tāsāṃ premiṇīnām ānandaṃ vīkṣya — then, having seen the joy of those loving gopīs
• jagadānandakārakaḥ mādhavaḥ paramaṃ ānandaṃ lebhe — Mādhava, who is the cause of the world's joy, attained supreme joy

• This verse illustrates the reciprocal nature of bhakti: the Lord derives His supreme joy from the joy of His devotees.
• The title "jagadānandakārakaḥ" (the cause of the world's joy) underscores that Kṛṣṇa is the source of all bliss, yet He finds His own bliss in the service of His devotees.
• The term "premiṇīnām" highlights that the gopīs are defined by their love (prema), which is the catalyst for the Lord's own happiness.

Then, the gently smiling Viśākhā released Govinda, who is the cause of liberation for those deluded souls bound by the shackles of the material world.

tadā viśākhā govindaṃ mumoca mṛduhāsinī |

saṃsārapāśabaddhānāṃ mūḍhānāṃ mokṣakāraṇam ||8||

tadā — then

viśākhā — Viśākhā

govindam — Govinda

mumoca — released

mṛduhāsinī — the one with a gentle smile

saṃsārapāśabaddhānām — of those bound by the shackles of the material world

mūḍhānām — of the deluded

mokṣakāraṇam — the cause of liberation

tadā, mṛduhāsinī viśākhā, saṃsārapāśabaddhānāṃ mūḍhānāṃ mokṣakāraṇaṃ govindaṃ mumoca,

• tadā, mṛduhāsinī viśākhā — then, the gently smiling Viśākhā
• saṃsārapāśabaddhānāṃ mūḍhānāṃ mokṣakāraṇaṃ govindaṃ mumoca — released Govinda, who is the cause of liberation for the deluded souls bound by the shackles of the material world

• The irony is highlighted: the One who liberates all souls from the cycle of birth and death (saṃsāra) is Himself bound by the love of His devotees.
• Viśākhā’s role as the one who releases Him shows the intimate, playful authority the gopīs hold over the Lord.
• The description of Kṛṣṇa as "mokṣakāraṇam" serves to contrast His supreme status with His current state of being bound by a flower garland.

Then the gopīs sang to Kṛṣṇa, "O Govinda, O delight of the Yadus, previously You were bound to a mortar by Your mother, and now here You are bound by Rādhā."

tadā gopyo jaguḥ kṛṣṇaṃ govinda yadunandana |

jananyolūkhale baddhaḥ pūrvaṃ tvamiharādhayā ||9||

tadā — then

gopyaḥ — the gopīs

jaguḥ — sang

kṛṣṇam — to Kṛṣṇa

govinda — O Govinda

yadunandana — O delight of the Yadu dynasty

jananyā — by mother (Yaśodā)

ulūkhale — to a mortar

baddhaḥ — bound

pūrvam — previously

tvam — You

iha — here

rādhayā — by Rādhā

tadā gopyaḥ kṛṣṇaṃ jaguḥ, govinda yadunandana, pūrvaṃ jananyā ulūkhale baddhaḥ tvam, iha rādhayā (baddhaḥ asi),

• tadā gopyaḥ kṛṣṇaṃ jaguḥ — then the gopīs sang to Kṛṣṇa
• govinda yadunandana, pūrvaṃ jananyā ulūkhale baddhaḥ tvam — "O Govinda, O delight of the Yadus, previously You were bound to a mortar by Your mother
• iha rādhayā (baddhaḥ asi) — here, You are bound by Rādhā"

• The gopīs connect the current pastime to the famous Dāmodara-līlā, establishing a continuity of Kṛṣṇa’s "subservience" to love.
• The address "Yadunandana" reminds the reader of His royal lineage, which makes His humble binding even more poignant.
• This verse serves as a theological bridge between the Vraja-līlā and the broader Vaiṣṇava tradition of Kṛṣṇa’s childhood pastimes.

"You are bound to a tree with a garland; Your pastime is truly wonderful. On this earth, You demonstrate Your dependence upon Your devotees."

vṛkṣe baddho'si mālyena caritaṃ te mahādbhutam |

bhakteṣu pāratantryaṃ te viḍambayasi bhūtale ||10||

vṛkṣe — to a tree

baddhaḥ — bound

asi — You are

mālyena — with a garland

caritam — pastime

te — Your

mahādbhutam — very wonderful

bhakteṣu — in the devotees

pāratantryam — dependence/subservience

te — Your

viḍambayasi — You demonstrate/imitate

bhūtale — on the surface of the earth

mālyena vṛkṣe baddhaḥ asi, te caritaṃ mahādbhutam, bhūtale bhakteṣu te pāratantryaṃ viḍambayasi,

• mālyena vṛkṣe baddhaḥ asi — "You are bound to a tree with a garland
• te caritaṃ mahādbhutam — Your pastime is very wonderful
• bhūtale bhakteṣu te pāratantryaṃ viḍambayasi — on this earth, You demonstrate Your dependence upon Your devotees"

• The concept of "pāratantrya" (dependence) is the highest expression of the Lord’s love for His devotees in the Vaiṣṇava tradition.
• The word "viḍambayasi" suggests that while He is the Supreme Controller, He playfully "imitates" or "enacts" the role of one who is dependent.
• This verse encapsulates the core theology of the text: the Lord’s supreme power is eclipsed by His supreme love for His devotees.

All the yogīs were unable to bind You, the unconquered One, within their hearts; nevertheless, You are bound by the loving devotees with the rope of love.

na śekuryoginaḥ sarve tvāṃ baddhumajitaṃ hṛdi |

tathāpi premapāśena baddho'si premikairjanaiḥ ||11||

na — not

śekuḥ — were able

yoginaḥ — the yogīs

sarve — all

tvām — You

baddhum — to bind

ajitam — the unconquered

hṛdi — in the heart

tathāpi — nevertheless

premapāśena — with the rope of love

baddhaḥ — bound

asi — You are

premikairjanaiḥ — by the loving people

sarve yoginaḥ ajitaṃ tvāṃ hṛdi baddhuṃ na śekuḥ, tathāpi premikairjanaiḥ premapāśena baddhaḥ asi,

• sarve yoginaḥ ajitaṃ tvāṃ hṛdi baddhuṃ na śekuḥ — all the yogīs were unable to bind You, the unconquered One, within their hearts
• tathāpi premikairjanaiḥ premapāśena baddhaḥ asi — nevertheless, You are bound by the loving devotees with the rope of love

• This verse contrasts the failure of the yogīs (who seek the Lord through effort) with the success of the devotees (who bind Him through love).
• The "premapāśa" (rope of love) is the only force capable of binding the "ajita" (the unconquered Lord).
• This is a foundational theological statement in the Vaiṣṇava tradition regarding the superiority of bhakti over jñāna and yoga.

Then, the beautiful One slept comfortably on the bed of sprouts, using the lap of Lalitā as a pillow, with His eyes closed.

atha pallavaparyaṅke sukhaṃ suṣvāpa sundaraḥ |

lalitāṅkopadhānena nimīlitavilocanaḥ ||12||

atha — then

pallavaparyaṅke — on the bed of sprouts

sukham — comfortably

suṣvāpa — slept

sundaraḥ — the beautiful One (Kṛṣṇa)

lalitāṅkopadhānena — with the lap of Lalitā as a pillow

nimīlitavilocanaḥ — with closed eyes

atha, sundaraḥ, lalitāṅkopadhānena, pallavaparyaṅke nimīlitavilocanaḥ sukhaṃ suṣvāpa,

• atha, sundaraḥ — then, the beautiful One
• lalitāṅkopadhānena — using the lap of Lalitā as a pillow
• pallavaparyaṅke nimīlitavilocanaḥ sukhaṃ suṣvāpa — slept comfortably on the bed of sprouts with His eyes closed

• The intimacy of the scene is heightened by Kṛṣṇa resting His head on Lalitā’s lap, showing the deep affection the gopīs have for Him.
• The "pallavaparyaṅka" (bed of sprouts) emphasizes the natural, serene environment of the afternoon rest.
• The image of the Lord sleeping (yoga-nidrā in a devotional context) evokes a sense of peace and total trust in His devotees.

Rādhikā, the embodiment of love, massaged His feet, while Citrā served her Lord by fanning Him with a fan taken from the hand of a friend.

pādasaṃvāhanaṃ cakre rādhikā premarūpiṇī |

patiṃ paryacaraccitrā vyajanena sakhīkarāt ||13||

pādasaṃvāhanam — massaging of the feet

cakre — performed

rādhikā — Rādhikā

premarūpiṇī — the embodiment of love

patim — her Lord

paryacarat — served

citrā — Citrā (a gopī)

vyajanena — with a fan

sakhīkarāt — from the hand of a friend

premarūpiṇī rādhikā pādasaṃvāhanaṃ cakre, citrā sakhīkarāt vyajanena patim paryacarat,

• premarūpiṇī rādhikā pādasaṃvāhanaṃ cakre — Rādhikā, the embodiment of love, massaged His feet
• citrā sakhīkarāt vyajanena patim paryacarat — Citrā served her Lord by fanning Him with a fan taken from the hand of a friend

• Rādhikā is explicitly called "premarūpiṇī" (the embodiment of love), identifying her as the source and essence of the devotion being described.
• The service of massaging the feet and fanning the Lord are traditional acts of intimate devotional service (sevā).
• The mention of Citrā and the cooperative nature of the service highlights the collective devotion of the gopīs.

Tuṅgavidyā, playing the vīṇā, sings along, and all the other gopīs attend to Keśava.

tuṅgavidyā tathā vīṇāṃ vādayantyanugāyati |

anye sakhījanāḥ sarve'pyupatiṣṭhanti keśavam ||14||

tuṅgavidyā — Tuṅgavidyā

tathā — also

vīṇām — the vīṇā

vādayantī — playing

anugāyati — sings along

anye — other

sakhījanāḥ — gopīs

sarve — all

api — also

upatiṣṭhanti — stand by/attend to

keśavam — Keśava

tuṅgavidyā tathā vīṇāṃ vādayantī anugāyati, anye sarve sakhījanāḥ api keśavam upatiṣṭhanti,

• tuṅgavidyā tathā vīṇāṃ vādayantī anugāyati — Tuṅgavidyā, playing the vīṇā, sings along
• anye sarve sakhījanāḥ api keśavam upatiṣṭhanti — all the other gopīs also attend to Keśava

• The musical accompaniment of the vīṇā adds to the aesthetic beauty (rasa) of the scene.
• The term "upatiṣṭhanti" implies a state of constant, attentive service and presence.
• This verse completes the picture of the gopīs surrounding the sleeping Kṛṣṇa, each engaged in a specific form of loving service.

Then, when the heat had subsided, a joyful Rādhikā, together with the gopīs, awakened her Lord Mādhava who was sleeping there.

atha tatrātape śānte svapantaṃ mādhavaṃ patim |

prabodhayāmāsa hṛṣṭā gopībhiḥ saha rādhikā ||15||

atha — then

tatra — there

atape — in the heat/sunlight

śānte — having subsided

svapantam — sleeping

mādhavam — Mādhava

patim — her Lord

prabodhayāmāsa — awakened

hṛṣṭā — joyful

gopībhiḥ — with the gopīs

saha — together

rādhikā — Rādhikā

atha, atape śānte, rādhikā hṛṣṭā gopībhiḥ saha, tatra svapantaṃ mādhavaṃ patim prabodhayāmāsa,

• atha, atape śānte — then, when the heat had subsided
• rādhikā hṛṣṭā gopībhiḥ saha — Rādhā, joyful, together with the gopīs
• tatra svapantaṃ mādhavaṃ patim prabodhayāmāsa — awakened her Lord Mādhava who was sleeping there

• The awakening of the Lord is a significant ritualistic and devotional moment, often mirrored in temple worship (śayana-līlā and utthāpana).
• The timing (when the heat subsides) suggests the transition from the afternoon to the evening pastimes.
• Rādhā’s role as the one who awakens Him emphasizes her intimate authority and her position as the primary devotee.

"O lover of the gopīs, O Kṛṣṇa, O Govinda, O Keśava, arise! Look at us with a side-long glance and engage us in Your service."

uttiṣṭha gopīramaṇa kṛṣṇa govinda keśava |

ālokaya kaṭākṣeṇa tava dāsye niyuṅkṣva naḥ ||16||

uttiṣṭha — arise

gopīramaṇa — O lover of the gopīs

kṛṣṇa — O Kṛṣṇa

govinda — O Govinda

keśava — O Keśava

ālokaya — look (at us)

kaṭākṣeṇa — with a side-long glance

tava — Your

dāsye — in service

niyuṅkṣva — engage

naḥ — us

gopīramaṇa kṛṣṇa govinda keśava, uttiṣṭha, kaṭākṣeṇa ālokaya, naḥ tava dāsye niyuṅkṣva,

• gopīramaṇa kṛṣṇa govinda keśava, uttiṣṭha — "O lover of the gopīs, O Kṛṣṇa, O Govinda, O Keśava, arise
• kaṭākṣeṇa ālokaya — look at us with a side-long glance
• naḥ tava dāsye niyuṅkṣva — engage us in Your service"

• The request to be engaged in service ("tava dāsye niyuṅkṣva") is the ultimate prayer of the devotee.
• The "kaṭākṣa" (side-long glance) of Kṛṣṇa is considered a source of immense grace and spiritual awakening in the Vaiṣṇava tradition.
• The multiple names of the Lord used here reflect the gopīs' deep affection and their desire to invoke His presence in all His aspects.

Having heard this praise, Govinda arose from sleep, drank fruit juice, and desiring to play with the cowherd boys, He went to the forest.

evaṃ saṅkīrtitaṃ śrutvā govindaḥ śayanotthitaḥ |

pītvā phalarasaṃ bālai rantukāmo'gamadvanam ||17||

evam — thus

saṅkīrtitam — being praised/called

śrutvā — having heard

govindaḥ — Govinda

śayanotthitaḥ — arose from sleep

pītvā — having drunk

phalarasam — fruit juice

bālaiḥ — with the cowherd boys

rantukāmaḥ — desiring to play

agamat — went

vanam — to the forest

evam saṅkīrtitaṃ śrutvā, govindaḥ śayanotthitaḥ, phalarasaṃ pītvā, bālaiḥ rantukāmaḥ vanam agamat,

• evam saṅkīrtitaṃ śrutvā, govindaḥ śayanotthitaḥ — having heard this praise, Govinda arose from sleep
• phalarasaṃ pītvā — having drunk fruit juice
• bālaiḥ rantukāmaḥ vanam agamat — desiring to play with the cowherd boys, He went to the forest

• The transition from the intimate bower with the gopīs to the forest with the cowherd boys shows the variety of Kṛṣṇa’s pastimes.
• The "phalarasa" (fruit juice) represents the simple, natural offerings of the Vraja-vāsīs.
• The desire to play ("rantukāmaḥ") is the driving force behind all of Kṛṣṇa’s activities in Vraja.

Then, there was great joy among the boys from the sight of Kṛṣṇa, and having seen Him arrive, they all stood up simultaneously.

tadā'bhavanmahānando bālānāṃ kṛṣṇadarśanāt |

uttasthuryugapat sarve kṛṣṇaṃ dṛṣṭvā samāgatam ||18||

tadā — then

abhavat — became

mahānandaḥ — great joy

bālānām — of the boys

kṛṣṇadarśanāt — from the sight of Kṛṣṇa

uttasthuḥ — stood up

yugapat — simultaneously

sarve — all

kṛṣṇam — Kṛṣṇa

dṛṣṭvā — having seen

samāgatam — arrived

tadā, kṛṣṇadarśanāt bālānāṃ mahānandaḥ abhavat, samāgataṃ kṛṣṇaṃ dṛṣṭvā, sarve yugapat uttasthuḥ,

• tadā, kṛṣṇadarśanāt bālānāṃ mahānandaḥ abhavat — then, there was great joy among the boys from the sight of Kṛṣṇa
• samāgataṃ kṛṣṇaṃ dṛṣṭvā, sarve yugapat uttasthuḥ — having seen Kṛṣṇa arrived, they all stood up simultaneously

• The spontaneous joy of the cowherd boys reflects their pure, friendly love (sakhya-rasa) for Kṛṣṇa.
• The simultaneous action ("yugapat") highlights the unity and collective enthusiasm of the group.
• The arrival of Kṛṣṇa is the focal point that transforms the atmosphere into one of celebration.

Then they played with Kṛṣṇa, speaking various stories, laughing loudly, dancing, and singing, turning the moment into a great festival.

vijahruste'tha kṛṣṇena bruvanto vividhāḥ kathāḥ |

uccairhasanto nṛtyanto gāyantaśca mahotsavāḥ ||19||

vijahruḥ — they played

te — they

atha — then

kṛṣṇena — with Kṛṣṇa

bruvantaḥ — speaking

vividhāḥ — various

kathāḥ — stories

uccaiḥ — loudly

hasantaḥ — laughing

nṛtyantaḥ — dancing

gāyantaḥ — singing

ca — and

mahotsavāḥ — great festivals

atha, te kṛṣṇena saha vijahruḥ, vividhāḥ kathāḥ bruvantaḥ, uccaiḥ hasantaḥ, nṛtyantaḥ, gāyantaḥ ca mahotsavāḥ (abhavan),

• atha, te kṛṣṇena saha vijahruḥ — then, they played with Kṛṣṇa
• vividhāḥ kathāḥ bruvantaḥ, uccaiḥ hasantaḥ, nṛtyantaḥ, gāyantaḥ — speaking various stories, laughing loudly, dancing, and singing
• ca mahotsavāḥ (abhavan) — and it became a great festival

• The description of the play as a "mahotsava" (great festival) emphasizes the festive, joyous nature of Kṛṣṇa’s pastimes.
• The activities—storytelling, laughing, dancing, and singing—are the natural expressions of the boys' love for Kṛṣṇa.
• This verse captures the essence of the Vraja-līlā: a continuous, spontaneous celebration of divine friendship.

They played the game of tag, the game of kings, the ball game, the blindfold game, and the game of running on one foot.

aspṛśyalīlāṃ ca tathā nṛpalīlāṃ ca kandukam |

netrabandhanalīlāṃ ca padaikenānudhāvanam ||20||

aspṛśyalīlām — the game of tag (untouchable play)

ca — and

tathā — also

nṛpalīlām — the game of kings

ca — and

kandukam — ball game

netrabandhanalīlām — blindfold game

ca — and

padaikenānudhāvanam — running on one foot

aspṛśyalīlāṃ ca, tathā nṛpalīlāṃ ca, kandukaṃ, netrabandhanalīlāṃ ca, padaikenānudhāvanaṃ (vijahruḥ),

• aspṛśyalīlāṃ ca, tathā nṛpalīlāṃ ca — they played the game of tag, and also the game of kings
• kandukaṃ, netrabandhanalīlāṃ ca — the ball game, and the blindfold game
• padaikenānudhāvanaṃ (vijahruḥ) — and running on one foot

• The specific games mentioned provide a historical and cultural glimpse into the traditional pastimes of the cowherd boys in Vraja.
• These games are not merely physical; they are expressions of the divine play (līlā) that Kṛṣṇa engages in with His devotees.
• The variety of games shows the versatility and joyfulness of Kṛṣṇa’s interactions with His friends.

Having performed various kinds of pastimes in this way, when the sun had set, Govinda called the cows to return to Gokula.

evaṃ nānāvidhā līlāḥ kṛtvā sāyaṅgate ravau |

govindo gokulaṃ gantuṃ dhenūstatra samāhvayat ||21||

evam — thus

nānāvidhāḥ — various kinds of

līlāḥ — pastimes

kṛtvā — having performed

sāyaṅgate — having set

ravau — the sun

govindaḥ — Govinda

gokulam — to Gokula

gantum — to go

dhenūḥ — the cows

tatra — there

samāhvayat — called

evaṃ nānāvidhāḥ līlāḥ kṛtvā, ravau sāyaṅgate, govindaḥ gokulaṃ gantuṃ tatra dhenūḥ samāhvayat,

• evaṃ nānāvidhāḥ līlāḥ kṛtvā — having performed various kinds of pastimes in this way
• ravau sāyaṅgate — when the sun had set
• govindaḥ gokulaṃ gantuṃ tatra dhenūḥ samāhvayat — Govinda called the cows there to go to Gokula

• The setting of the sun marks the conclusion of the afternoon pastimes and the beginning of the evening return to the village.
• The calling of the cows is a classic image of the "Gopāla" (protector of cows) aspect of Kṛṣṇa.
• This verse brings the chapter to a natural close, transitioning from the play in the forest back to the domestic setting of Gokula.

॥ इति सप्तदशः परिच्छेदः समाप्तः ॥