रात्रिलीलाभावनावर्णनRātrilīlābhāvanāvarṇanam

Even the full moon shines eternally within the forest of Vṛndāvana, while the spring season, being of the very nature of service to Kṛṣṇa, adorns the forest with flowers such as the Vāsantikā.

śuśubhe pūrṇacandro’pi nityaṃ bṛndāvanāntare |

vasantaḥ kṛṣṇasevāyai puṣpairvāsantikādibhiḥ ||1||

śuśubhe — shone beautifully

pūrṇacandraḥ — the full moon

api — even

nityam — eternally

bṛndāvanāntare — within the forest of Vṛndāvana

vasantaḥ — the spring season

kṛṣṇasevāyai — for the service of Kṛṣṇa

puṣpaiḥ — with flowers

vāsantikādibhiḥ — such as the Vāsantikā (spring jasmine) and others

pūrṇacandraḥ api, nityaṃ bṛndāvanāntare śuśubhe, vasantaḥ kṛṣṇasevāyai vāsantikādibhiḥ puṣpaiḥ,

• pūrṇacandraḥ api — even the full moon
• nityaṃ bṛndāvanāntare śuśubhe — shines eternally within the forest of Vṛndāvana
• vasantaḥ kṛṣṇasevāyai vāsantikādibhiḥ puṣpaiḥ — the spring season serves Kṛṣṇa with flowers such as the Vāsantikā

• The verse establishes the eternal, transcendental nature of Vṛndāvana where time and seasons serve the Divine.
• The personification of spring as a servant of Kṛṣṇa highlights the Vaiṣṇava tradition's view that all of nature is sentient and engaged in bhakti.
• This sets the stage for the nocturnal pastimes by creating an atmosphere of perpetual beauty and auspiciousness.

In that beautiful Vṛndāvana, fragrant with a variety of flowers, Kṛṣṇa played His flute, which is intent in every way on attracting the gopīs.

tasmin bṛndāvane ramye nānāpuṣpasugandhite |

sañjagau muralīṃ kṛṣṇo gopyākarṣaṇatatparām ||2||

tasmin — in that

bṛndāvane — Vṛndāvana

ramye — beautiful

nānāpuṣpasugandhite — fragrant with various flowers

sañjagau — played

muralīm — the flute

kṛṣṇaḥ — Kṛṣṇa

gopyākarṣaṇatatparām — intent on attracting the gopīs

tasmin ramye nānāpuṣpasugandhite bṛndāvane, kṛṣṇaḥ gopyākarṣaṇatatparāṃ muralīṃ sañjagau,

• tasmin ramye nānāpuṣpasugandhite bṛndāvane — in that beautiful Vṛndāvana, which is fragrant with various flowers
• kṛṣṇaḥ gopyākarṣaṇatatparāṃ muralīṃ sañjagau — Kṛṣṇa played the flute that is intent on attracting the gopīs

• The flute is described as having a specific purpose (attraction), emphasizing its role as an agent of divine grace.
• The sensory details (fragrance, sound) are meant to evoke the meditative state of the devotee.
• The term 'gopyākarṣaṇa' underscores the intimate connection between the sound of the flute and the hearts of the gopīs.

All the enchanted gopīs came there from Gokula, their garments and ornaments in disarray, being filled with an intense longing for the sight of Kṛṣṇa.

ājagmustatra vallavyaḥ sarvā mugdhāstu gokulāt |

vyatyastavastrābharaṇāḥ kṛṣṇadarśanalālasāḥ ||3||

ājagmuḥ — came

tatra — there

vallavyaḥ — the gopīs

sarvāḥ — all

mugdhāḥ — enchanted

tu — indeed

gokulāt — from Gokula

vyatyastavastrābharaṇāḥ — with garments and ornaments worn in disarray

kṛṣṇadarśanalālasāḥ — longing for the sight of Kṛṣṇa

sarvāḥ mugdhāḥ vallavyaḥ gokulāt tatra ājagmuḥ, vyatyastavastrābharaṇāḥ kṛṣṇadarśanalālasāḥ,

• sarvāḥ mugdhāḥ vallavyaḥ gokulāt tatra ājagmuḥ — all the enchanted gopīs came there from Gokula
• vyatyastavastrābharaṇāḥ — with their garments and ornaments in disarray
• kṛṣṇadarśanalālasāḥ — being filled with a longing for the sight of Kṛṣṇa

• The "disarray" of the gopīs' attire signifies their complete absorption in Kṛṣṇa, transcending worldly decorum.
• This verse illustrates the intensity of prema (divine love) which overrides all social and personal concerns.
• The term 'mugdhā' (enchanted) indicates the state of being under the spell of Kṛṣṇa's attraction.

Having gathered them, Govinda went to the banks of the Kālindī and began the Rāsa dance together with the beautiful Rādhā.

tāḥ samādāya govindaḥ kālindī pulinaṃ gataḥ |

rāsakrīḍāṃ samārabhe ramaṇyā rādhayā saha ||4||

tāḥ — them

samādāya — having taken

govindaḥ — Govinda

kālindī — of the Yamunā

pulinam — to the bank

gataḥ — went

rāsakrīḍām — the Rāsa dance

samārabhe — began

ramaṇyā — beautiful

rādhayā — with Rādhā

saha — together

govindaḥ tāḥ samādāya kālindī pulinaṃ gataḥ, ramaṇyā rādhayā saha rāsakrīḍāṃ samārabhe,

• govindaḥ tāḥ samādāya kālindī pulinaṃ gataḥ — Govinda, having taken them, went to the bank of the Kālindī (Yamunā)
• ramaṇyā rādhayā saha rāsakrīḍāṃ samārabhe — He began the Rāsa dance together with the beautiful Rādhā

• The transition from the flute's call to the bank of the Yamunā marks the commencement of the Rāsa-līlā.
• Rādhā is explicitly mentioned as the primary partner, central to the Vaiṣṇava tradition's theology of divine love.
• The Rāsa-līlā is the pinnacle of devotional expression, representing the union of the soul with the Divine.

Bound to one another by their arms, the thousands of gopīs stood all around, dancing and singing loudly.

anyo’nyaṃ bāhubhirbaddhāḥ paritastatra saṃsthitāḥ |

uccairjaguśca nṛtyantyo gopikāstu sahasraśaḥ ||5||

anyo’nyam — one another

bāhubhiḥ — with arms

baddhāḥ — bound

paritaḥ — all around

tatra — there

saṃsthitāḥ — stood

uccaiḥ — loudly

jaguḥ — sang

ca — and

nṛtyantyaḥ — dancing

gopikāḥ — the gopīs

tu — indeed

sahasraśaḥ — by the thousands

anyo’nyaṃ bāhubhiḥ baddhāḥ, tatra paritaḥ saṃsthitāḥ, sahasraśaḥ gopikāḥ tu nṛtyantyaḥ uccaiḥ jaguḥ,

• anyo’nyaṃ bāhubhiḥ baddhāḥ — bound to one another by their arms
• tatra paritaḥ saṃsthitāḥ — standing all around there
• sahasraśaḥ gopikāḥ tu nṛtyantyaḥ uccaiḥ jaguḥ — the thousands of gopīs, dancing, sang loudly

• The physical connection of the gopīs (arms linked) symbolizes the collective nature of their devotion.
• The act of singing and dancing is a spontaneous expression of prema.
• The "thousands" emphasize the vastness and inclusivity of the Rāsa circle.

Hari, dancing in the midst of those gopīs who possess the brilliance of lightning, shone with the complexion of a soft, dark, rain-bearing cloud, assuming various forms.

tāsāṃ taṭitprabhāṇāṃ tu madhye madhye naṭan hariḥ |

snigdhanīlaghanaśyāmo nānārūpadharo babhau ||6||

tāsām — of them

taṭitprabhāṇām — who have the brilliance of lightning

tu — indeed

madhye madhye — in the midst of each

naṭan — dancing

hariḥ — Hari

snigdhanīlaghanaśyāmaḥ — having the complexion of a soft, dark, rain-bearing cloud

nānārūpadharaḥ — assuming various forms

babhau — shone

taṭitprabhāṇāṃ tāsāṃ madhye madhye naṭan hariḥ, snigdhanīlaghanaśyāmaḥ nānārūpadharaḥ babhau,

• taṭitprabhāṇāṃ tāsāṃ madhye madhye naṭan hariḥ — Hari, dancing in the midst of those who have the brilliance of lightning
• snigdhanīlaghanaśyāmaḥ nānārūpadharaḥ babhau — shone, having the complexion of a soft, dark, rain-bearing cloud and assuming various forms

• The contrast between the golden brilliance of the gopīs (like lightning) and the dark complexion of Kṛṣṇa (like a rain cloud) is a classic aesthetic trope in the Vaiṣṇava tradition.
• "Nānārūpadharaḥ" refers to Kṛṣṇa's expansion to be with every gopī simultaneously.
• This verse highlights the beauty of the divine form in the context of the Rāsa dance.

Kṛṣṇa, standing in the center of the circle of gopīs, played His flute, and then the sound of their anklets became tumultuous.

muralīṃ ca jagau kṛṣṇo gopīmaṇḍalamadhyagaḥ |

tadā teṣāṃ nūpurāṇāṃ ninadastumulo’bhavat ||7||

muralīm — the flute

ca — and

jagau — played

kṛṣṇaḥ — Kṛṣṇa

gopīmaṇḍalamadhyagaḥ — being in the center of the circle of gopīs

tadā — then

teṣām — of those

nūpurāṇām — of the anklets

ninadaḥ — the sound

tumulaḥ — tumultuous/intense

abhavat — became

gopīmaṇḍalamadhyagaḥ kṛṣṇaḥ muralīṃ ca jagau, tadā teṣāṃ nūpurāṇāṃ tumulaḥ ninadaḥ abhavat,

• gopīmaṇḍalamadhyagaḥ kṛṣṇaḥ muralīṃ ca jagau — Kṛṣṇa, being in the center of the circle of gopīs, played the flute
• tadā teṣāṃ nūpurāṇāṃ tumulaḥ ninadaḥ abhavat — then, the sound of their anklets became tumultuous

• The sound of the flute and the sound of the anklets create a symphony of divine love.
• "Tumula" (tumultuous) here implies an overwhelming, ecstatic intensity of sound.
• The central position of Kṛṣṇa reinforces His role as the source and focus of the Rāsa dance.

Hari, adorned with the garland of the gopīs' hands and the Vaijayantī garland, was then embraced and kissed by hundreds of gopīs.

vallavīkaramālaśca vaijayantīlatānvitaḥ |

āśliṣṭaścumbitaścaiva tadā gopīśatairhariḥ ||8||

vallavīkaramālaḥ — having the garland of the gopīs' hands

ca — and

vaijayantīlatānvitaḥ — adorned with the Vaijayantī garland

āśliṣṭaḥ — embraced

cumbitaḥ — kissed

ca — and

eva — indeed

tadā — then

gopīśataiḥ — by hundreds of gopīs

hariḥ — Hari

vallavīkaramālaḥ ca vaijayantīlatānvitaḥ hariḥ, tadā gopīśataiḥ āśliṣṭaḥ cumbitaḥ ca eva,

• vallavīkaramālaḥ ca vaijayantīlatānvitaḥ hariḥ — Hari, who is adorned with the garland of the gopīs' hands and the Vaijayantī garland
• tadā gopīśataiḥ āśliṣṭaḥ cumbitaḥ ca eva — was then embraced and kissed by hundreds of gopīs

• The "garland of the gopīs' hands" is a poetic way of describing the circle of dancers holding hands.
• The intimacy of the embrace and kiss represents the culmination of the gopīs' surrender.
• The Vaijayantī garland is a traditional symbol of Kṛṣṇa's divine majesty and beauty.

The glorious one, wearing yellow garments, anointed with sandalwood paste, and having shark-shaped earrings that sway, sports there with the gopīs.

pītāmbaradharaḥ śrīmān haricandanacarcitaḥ |

ramate tatra gopībhiḥ calanmakarakuṇḍalaḥ ||9||

pītāmbaradharaḥ — wearing yellow garments

śrīmān — the glorious one

haricandanacarcitaḥ — anointed with sandalwood paste

ramate — sports

tatra — there

gopībhiḥ — with the gopīs

calanmakarakuṇḍalaḥ — with moving shark-shaped earrings

pītāmbaradharaḥ śrīmān haricandanacarcitaḥ calanmakarakuṇḍalaḥ, tatra gopībhiḥ ramate,

• pītāmbaradharaḥ śrīmān haricandanacarcitaḥ calanmakarakuṇḍalaḥ — the glorious one, wearing yellow garments, anointed with sandalwood paste, and having moving shark-shaped earrings
• tatra gopībhiḥ ramate — sports there with the gopīs

• The description of Kṛṣṇa's attire and ornaments serves as a focus for meditation (dhyāna).
• "Ramate" (sports/enjoys) captures the playful, non-serious, yet profoundly spiritual nature of the līlā.
• The swaying earrings suggest the dynamic movement of the dance.

There, the Supreme Person, the Lord, who is the sole beloved of thousands of gopīs, played while manifesting His divinity.

tatra gopīsahasrāṇāṃ bhagavānekavallabhaḥ |

īśvaratvaṃ prakaṭayan cikrīḍa puruṣottamaḥ ||10||

tatra — there

gopīsahasrāṇām — of thousands of gopīs

bhagavān — the Lord

ekavallabhaḥ — the sole beloved

īśvaratvam — divinity/lordship

prakaṭayan — manifesting

cikrīḍa — played

puruṣottamaḥ — the Supreme Person

tatra gopīsahasrāṇāṃ ekavallabhaḥ bhagavān puruṣottamaḥ, īśvaratvaṃ prakaṭayan cikrīḍa,

• tatra gopīsahasrāṇāṃ ekavallabhaḥ bhagavān puruṣottamaḥ — there, the Supreme Person, the Lord, who is the sole beloved of thousands of gopīs
• īśvaratvaṃ prakaṭayan cikrīḍa — played while manifesting His divinity

• This verse balances the intimacy of the līlā with the recognition of Kṛṣṇa's supreme divinity.
• "Ekavallabhaḥ" highlights that despite the thousands of gopīs, Kṛṣṇa is the singular object of their love.
• The manifestation of divinity during the dance confirms that the Rāsa-līlā is not a mundane event but a transcendental one.

Then, in the sky, all the demigods, sages, protectors of the worlds, perfected beings, Sādhyas, and celestial singers were amazed having seen Govinda.

tadā’mbare surāḥ sarve munayo lokapālakāḥ |

siddhāḥ sādhyāśca gandharvā govindaṃ vīkṣya vismitāḥ ||11||

tadā — then

ambare — in the sky

surāḥ — the demigods

sarve — all

munayaḥ — the sages

lokapālakāḥ — the protectors of the worlds

siddhāḥ — the perfected beings

sādhyāḥ — the Sādhyas

ca — and

gandharvāḥ — the celestial singers

govindam — Govinda

vīkṣya — having seen

vismitāḥ — amazed

tadā ambare sarve surāḥ munayaḥ lokapālakāḥ siddhāḥ sādhyāḥ ca gandharvāḥ, govindaṃ vīkṣya vismitāḥ,

• tadā ambare sarve surāḥ munayaḥ lokapālakāḥ siddhāḥ sādhyāḥ ca gandharvāḥ — then, in the sky, all the demigods, sages, protectors of the worlds, perfected beings, Sādhyas, and celestial singers
• govindaṃ vīkṣya vismitāḥ — were amazed having seen Govinda

• The presence of celestial beings witnessing the līlā underscores its cosmic significance.
• Their amazement reflects the transcendental nature of the event, which surpasses even the understanding of the gods.
• This verse serves to elevate the status of the Rāsa-līlā in the eyes of the reader.

Then, having seen all the gopīs tired, Hari, out of compassion, concluded the pastime and went to the bower of vines with the gopīs.

śrāntā vīkṣya tadā sarvā gopikāḥ kṛpayā hariḥ |

līlāṃ samāpya gopībhirlatāgṛhamupāgamat ||12||

śrāntāḥ — tired

vīkṣya — having seen

tadā — then

sarvāḥ — all

gopikāḥ — the gopīs

kṛpayā — out of compassion

hariḥ — Hari

līlām — the pastime

samāpya — having concluded

gopībhiḥ — with the gopīs

latāgṛham — to the bower of vines

upāgamat — went

tadā sarvāḥ gopikāḥ śrāntāḥ vīkṣya, hariḥ kṛpayā līlāṃ samāpya, gopībhiḥ latāgṛham upāgamat,

• tadā sarvāḥ gopikāḥ śrāntāḥ vīkṣya — then, having seen all the gopīs tired
• hariḥ kṛpayā līlāṃ samāpya — Hari, out of compassion, having concluded the pastime
• gopībhiḥ latāgṛham upāgamat — went to the bower of vines with the gopīs

• Kṛṣṇa's compassion (kṛpā) is highlighted as the motivation for concluding the dance.
• The "latāgṛha" (bower of vines) represents a more intimate, private setting for the continuation of the līlā.
• This transition shows the shift from the public/communal Rāsa to the private/individualized service.

Viśākhā adorned Him with ornaments made of various jewels and gold, as well as an upper garment and a divine yellow garment.

viśākhā bhūṣayāmāsa nānāratnahiraṇmayaiḥ |

bhūṣaṇairuttarīyena divyapītāmbareṇa ca ||13||

viśākhā — Viśākhā

bhūṣayāmāsa — adorned

nānāratnahiraṇmayaiḥ — made of various jewels and gold

bhūṣaṇaiḥ — with ornaments

uttarīyena — with an upper garment

divyapītāmbareṇa — with a divine yellow garment

ca — and

viśākhā nānāratnahiraṇmayaiḥ bhūṣaṇaiḥ, uttarīyena, divyapītāmbareṇa ca bhūṣayāmāsa,

• viśākhā nānāratnahiraṇmayaiḥ bhūṣaṇaiḥ — Viśākhā, with ornaments made of various jewels and gold
• uttarīyena, divyapītāmbareṇa ca bhūṣayāmāsa — adorned Him with an upper garment and a divine yellow garment

• Viśākhā, one of the principal sakhīs, is shown performing direct service to Kṛṣṇa.
• The act of adorning the deity is a central practice in the Vaiṣṇava tradition's arcana (worship).
• The use of jewels and gold reflects the opulence of the spiritual realm.

Lalitā adorned Govinda with a forest garland made of Mandāra, Jājī, Punnāga, Campaka, Aśoka, and Vañjula flowers.

mandārajājīpunnāgacampakāśokavañjulaiḥ |

bhūṣayāmāsa lalitā govindaṃ vanamālayā ||14||

mandārajājīpunnāgacampakāśokavañjulaiḥ — with Mandāra, Jājī, Punnāga, Campaka, Aśoka, and Vañjula flowers

bhūṣayāmāsa — adorned

lalitā — Lalitā

govindam — Govinda

vanamālayā — with a forest garland

lalitā mandārajājīpunnāgacampakāśokavañjulaiḥ vanamālayā govindaṃ bhūṣayāmāsa,

• lalitā mandārajājīpunnāgacampakāśokavañjulaiḥ vanamālayā — Lalitā, with a forest garland made of Mandāra, Jājī, Punnāga, Campaka, Aśoka, and Vañjula flowers
• govindaṃ bhūṣayāmāsa — adorned Govinda

• Lalitā, the leader of the sakhīs, is depicted here in a tender, service-oriented role.
• The specific flowers mentioned are associated with the Vṛndāvana forest, grounding the līlā in its natural setting.
• The vanamālā (forest garland) is a signature ornament of Kṛṣṇa, symbolizing His connection to the pastoral life.

She applied divinely fragrant sandalwood paste on His broad chest, and having made a tilaka on His forehead, she showed Him a mirror.

candanaṃ divyagandhaṃ ca lilepa pṛthuvakṣasi |

lalāṭe tilakaṃ kṛtvā darśayāmāsa darpaṇam ||15||

candanam — sandalwood paste

divyagandham — of divine fragrance

ca — and

lilepa — applied

pṛthuvakṣasi — on the broad chest

lalāṭe — on the forehead

tilakam — tilaka

kṛtvā — having made

darśayāmāsa — showed

darpaṇam — a mirror

pṛthuvakṣasi divyagandhaṃ candanaṃ lilepa, lalāṭe tilakaṃ kṛtvā darpaṇaṃ darśayāmāsa,

• pṛthuvakṣasi divyagandhaṃ candanaṃ lilepa — applied divinely fragrant sandalwood paste on His broad chest
• lalāṭe tilakaṃ kṛtvā darpaṇaṃ darśayāmāsa — having made a tilaka on His forehead, she showed Him a mirror

• The act of applying sandalwood and tilaka is a ritualized expression of devotion.
• Showing the mirror is a classic gesture of sevā (service), allowing the Lord to see His own beauty.
• The "broad chest" is a common epithet for Kṛṣṇa, emphasizing His heroic and protective nature.

Then, some female friend offered sweet fruits to Hari, and also offered sweet rice pudding and a drink.

nivedayāmāsa hareḥ phalāni madhurāṇyapi |

pāyasaṃ madhuraṃ caiva peyaṃ kācitsakhī tadā ||16||

nivedayāmāsa — offered

hareḥ — to Hari

phalāni — fruits

madhurāṇi — sweet

api — also

pāyasam — sweet rice pudding

madhuram — sweet

ca — and

eva — indeed

peyam — a drink

kācit — some

sakhī — female friend

tadā — then

tadā kācit sakhī hareḥ madhurāṇi phalāni api, madhuraṃ pāyasaṃ ca eva peyaṃ nivedayāmāsa,

• tadā kācit sakhī hareḥ madhurāṇi phalāni api — then, some female friend offered sweet fruits to Hari
• madhuraṃ pāyasaṃ ca eva peyaṃ nivedayāmāsa — and also offered sweet rice pudding and a drink

• The offering of food (naivedya) is a fundamental aspect of the Vaiṣṇava tradition's devotional practice.
• The emphasis on sweetness (madhura) reflects the madhura-rasa (conjugal/sweet mood) that permeates this chapter.
• The anonymity of the "some female friend" suggests that all the sakhīs are equally engaged in the service of the Lord.

The gopīs, being the servants of Kṛṣṇa, then performed the ārati, chanting to one another, "Victory to Rādhā and Mukunda."

ārārtikaṃ tadā cakruḥ kīrtayantyaḥ parasparam |

jaya rādhemukundeti kṛṣṇadāsyastu gopikāḥ ||17||

ārārtikam — the ārati (worship with lamps)

tadā — then

cakruḥ — performed

kīrtayantyaḥ — chanting/glorifying

parasparam — one another

jaya — victory

rādhemukunda — O Rādhā and Mukunda

iti — thus

kṛṣṇadāsyaḥ — the servants of Kṛṣṇa

tu — indeed

gopikāḥ — the gopīs

kṛṣṇadāsyaḥ gopikāḥ tadā ārārtikaṃ cakruḥ, parasparam "jaya rādhemukunda" iti kīrtayantyaḥ,

• kṛṣṇadāsyaḥ gopikāḥ tadā ārārtikaṃ cakruḥ — the gopīs, who are the servants of Kṛṣṇa, then performed the ārati
• parasparam "jaya rādhemukunda" iti kīrtayantyaḥ — chanting to one another, "Victory to Rādhā and Mukunda"

• The ārati ceremony is a central ritual in the Vaiṣṇava tradition, symbolizing the offering of the self to the Divine.
• The chant "Jaya Rādhe-Mukunda" emphasizes the inseparable union of the Divine Couple.
• The gopīs are explicitly identified as "Kṛṣṇa-dāsyaḥ" (servants of Kṛṣṇa), defining their identity through service.

Then, on a bed of sprouts fragrant with various flowers, He lies happily on the region of Rādhikā's high breasts.

atha pallavatalpe tu nānāpuṣpasugandhite |

śete sukhaṃ rādhikāyā uttuṅgastanamaṇḍale ||18||

atha — then

pallavatalpe — on a bed of leaves/sprouts

tu — indeed

nānāpuṣpasugandhite — fragrant with various flowers

śete — lies

sukham — happily

rādhikāyāḥ — of Rādhikā

uttuṅgastanamaṇḍale — on the region of the high breasts

atha nānāpuṣpasugandhite pallavatalpe tu, rādhikāyāḥ uttuṅgastanamaṇḍale sukham śete,

• atha nānāpuṣpasugandhite pallavatalpe tu — then, on a bed of sprouts that is fragrant with various flowers
• rādhikāyāḥ uttuṅgastanamaṇḍale sukham śete — He lies happily on the region of Rādhikā's high breasts

• The "bed of sprouts" is a traditional setting for the intimate pastimes of the Divine Couple.
• The imagery is highly evocative of the madhura-rasa, focusing on the physical intimacy of Rādhā and Kṛṣṇa.
• The happiness (sukham) mentioned is the transcendental bliss of their union.

The group of sakhīs led by Lalitā, having positioned themselves at the entrance of the bower, then joyfully witnessed the amorous union of Rādhā and Mādhava.

lalitādisakhīvargaḥ kuñjadvāramupāśritaḥ |

dadarśa surataṃ hṛṣṭo rādhāmādhavayostadā ||19॥

lalitādisakhīvargaḥ — the group of sakhīs led by Lalitā

kuñjadvāram — the entrance of the bower

upāśritaḥ — having taken shelter/positioned

dadarśa — saw

suratam — the amorous union

hṛṣṭaḥ — joyful

rādhāmādhavayoḥ — of Rādhā and Mādhava

tadā — then

lalitādisakhīvargaḥ kuñjadvāram upāśritaḥ, tadā rādhāmādhavayoḥ surataṃ hṛṣṭaḥ dadarśa,

• lalitādisakhīvargaḥ kuñjadvāram upāśritaḥ — the group of sakhīs led by Lalitā, having positioned themselves at the entrance of the bower
• tadā rādhāmādhavayoḥ surataṃ hṛṣṭaḥ dadarśa — then joyfully witnessed the amorous union of Rādhā and Mādhava

• The sakhīs act as witnesses to the divine union, which is a key aspect of their role in the Vaiṣṇava tradition.
• Their joy (hṛṣṭaḥ) in witnessing the union is a reflection of their selfless love for the Divine Couple.
• This verse highlights the communal aspect of the private līlā, where the sakhīs participate through their observation.

Then, Kṛṣṇa departed towards His own home in Gokula, playing the flute on the paths, surrounded by gopīs on all sides.

atha saṃprasthitaḥ kṛṣṇo gokule svagṛhān prati |

mārgeṣu vādayan veṇuṃ parito vallavīvṛtaḥ ||20॥

atha — then

saṃprasthitaḥ — departed

kṛṣṇaḥ — Kṛṣṇa

gokule — in Gokula

svagṛhān — to His own home

prati — towards

mārgeṣu — on the paths

vādayan — playing

veṇum — the flute

paritaḥ — all around

vallavīvṛtaḥ — surrounded by gopīs

atha kṛṣṇaḥ gokule svagṛhān prati saṃprasthitaḥ, mārgeṣu veṇuṃ vādayan, paritaḥ vallavīvṛtaḥ,

• atha kṛṣṇaḥ gokule svagṛhān prati saṃprasthitaḥ — then, Kṛṣṇa departed towards His own home in Gokula
• mārgeṣu veṇuṃ vādayan — playing the flute on the paths
• paritaḥ vallavīvṛtaḥ — surrounded by gopīs on all sides

• The return to Gokula marks the conclusion of the nocturnal līlā.
• The continued playing of the flute suggests that the divine influence of the līlā persists even as they return to their worldly duties.
• Being "surrounded by gopīs" emphasizes the enduring bond between Kṛṣṇa and His devotees.

Mādhava, having reached Gokula, slept happily there; thus, one should remember the sweet pastime of the Lord at night.

avāpya gokulaṃ tatra sukhaṃ suṣvāpa mādhavaḥ |

evaṃ rātrau bhagavato līlāṃ tu madhurāṃ smaret ||21॥

avāpya — having reached

gokulam — Gokula

tatra — there

sukham — happily

suṣvāpa — slept

mādhavaḥ — Mādhava

evam — thus

rātrau — at night

bhagavataḥ — of the Lord

līlām — the pastime

tu — indeed

madhurām — sweet

smaret — one should remember

mādhavaḥ gokulaṃ avāpya tatra sukham suṣvāpa, evam rātrau bhagavataḥ madhurāṃ līlām tu smaret,

• mādhavaḥ gokulaṃ avāpya tatra sukham suṣvāpa — Mādhava, having reached Gokula, slept happily there
• evam rātrau bhagavataḥ madhurāṃ līlām tu smaret — thus, one should remember the sweet pastime of the Lord at night

• The instruction to "remember" (smaret) the līlā is the practical application of the text for the devotee.
• Remembering the Lord's pastimes is a core practice of bhakti-yoga.
• The term "madhurāṃ līlām" (sweet pastime) encapsulates the essence of the chapter's focus on the intimate, loving nature of Kṛṣṇa's activities.