Canto 10 - Chapter 35: The Gopis' song in pairs of verses

Discourse XXXV

The Gopīs' song in pairs of verses

Śrī Śuka began again : On Śrī Kṛṣṇa having proceeded to the forest (for pasturing the cattle), the cowherd women (whose mind accompanied Him to the forest) spent their days in anguish, loudly singing His pastimes. (1)

The Gopīs sang : When Śrī Kṛṣṇa (the Bestower of Liberation) plays on the flute, applied to His lips—the holes of which are (gently) touched by His delicate fingers—dancing His eyebrows, His left cheek inclined towards (the root of) His left arm, O cowherd women, the consorts of the Siddhas (flying through the air), accompanied by the Siddhas (their spouses), are struck with wonder to hear that music and, blushing to find their mind made a target of the shafts of love, fall into a trance, forgetful of their skirts (that get loosened and unsettled in that helpless state). (2-3)

Oh, hear of this strange phenomenon, O delicate women ! When this Darling of Nanda—on whose bosom smiling with pear-necklaces shines Goddess Lakṣmī (in the form of a golden streak) like a stationary flash of lightning—sounds His flute, bringing delight to the afflicted people (smitten with the pangs of separation from Him), herds of bulls in Vraja as well as deer and cows (in the forest), stand with erect ears, as though they were asleep or painted, their mind captivated by the music of the flute heard from a distance, and mouthfuls of grass pressed between their teeth (without being swallowed). (4-5)

Whenever the aforesaid Śrī Kṛṣṇa (the Bestower of Liberation), accompanied by Bala and putting on the garb of a wrestler decorated with a tuft of peacock-feathers and tender leaves, and painted with minerals (of various colours) O friend, calls the cows by their names (through the notes of His flute) in the company of (other) cowherds, the (inanimate) rivers too find their flow retarded and stand with their arms (in the shape of waves) thrown into motion (as if to fold the Lord in their embrace), and (when foiled in their attempt) yearning for the dust of His lotus-feet borne by the breeze but eventually with their waters stilled (as though in despair), possessed as they are of poor merit like ourselves. (6-7)

Whenever Śrī Kṛṣṇa, possessed of everlasting fortune like Lord Viṣṇu (the most ancient Person) and with His prowess sung in extenso (even as in the case of Lord Viṣṇu) by His followers, calls by their (respective) names the cows grazing on the slopes of the mountain (Govardhana) with the help of His flute, while roaming about in the forest (Himself), the creepers of the forest as well as the trees (their partners in life), laden as they are with flowers and fruits, appear with their boughs bent low under their weight and with their frames thrilled through (ecstasy of) love shed streams of honey as though manifesting (the all-pervading) Lord Viṣṇu (indwelling them in the form of rapture). (8-9)

When Śrī Kṛṣṇa, wearing (on His forehead) a sacred mark (so) charming to look at, applies the flute to His lips, admiring the high-pitched and agreeable humming of swarms of black bees drunk with the honey of Tulasi (basil) flowers forming part of His wreath of sylvan flowers and emitting an ethereal fragrance, the cranes, swans and other birds (dwelling) in lakes, dear me, approach Śrī Hari, their heart captivated by the dulcet music (of the flute), and flock by His side with their mind (fully) collected and eyes closed and observing (complete) silence. (10-11)

When, accompanied by Bala and gracefully adorned with floral ear-rings, and standing on the summits of the mountain (Govardhana), O beauties of Vraja, Śrī Kṛṣṇa fills the universe with the sound of His flute, enrapturing all and filled with delight (Himself), the cloud rumbles in gentle tones (as if) keeping time with His tune, and afraid at heart (as it were) of showing disrespect to the Great One, and covers his Friend with a shower of flowers (in the form of spray), spreading over Him an umbrella with his shadow. (12-13)

When, placing the flute between His lips, ruddy as a (ripe) Bimba fruit, O Yaśodā (a virtuous lady), your Son, an expert in the various games played by cowherds, evolves varied original tunes in the domain of flute-playing, the chiefs of the gods headed by Indra, Lord Śiva (the god of destruction) and Brahmā (the highest functionary of the universe) listen to that music again and again with their neck and mind inclined (towards the quarter from which the sound comes) and, unable to penetrate into its subtleties, learned as they are, fall into confusion. (14-15)

When, playing on His flute, Śrī Kṛṣṇa walks with the gait of an elephant (the foremost of all creatures in point of bulk), soothing the pain of the soil of Vraja caused by the hoofs of the cattle (treading on it) by (the soles of) His own (tender) feet resembling the petals of a lotus and bearing the weird marks of a flag, thunderbolt, lotus and goad, we—in whom are fire of love is kindled by His amorous glances and who are reduced to the (insensate) state of trees by (the sight of) His (graceful) movements—are no longer conscious of our braid or (even) of our dress due to infatuation. (16-17)

Whenever, wearing (a string of) beads (of various colours) and counting the (herds of) cows (with the help of those beads) and resting His arm on the shoulder of a loving follower, Śrī Kṛṣṇa, adorned with a wreath of Tulasi flowers, the fragrance of which is (so) dear to Him, sings somewhere (on His flute), the she-deer, the companions of black antelopes, whose mind is carried away by the music of His sounding flute, continue to be with Śrī Kṛṣṇa, the ocean of virtues, once they meet Him, having abandoned like (us,) the cowherd women (all) hopes of returning to their home. (18-19)

When, having gaily decorated Himself with wreaths of jasmine flowers, and surrounded by cowherd boys and His cattle-wealth, your Darling, Śrī Kṛṣṇa (Nanda's Son), O sinless Yaśodā, sports on the bank of the Yamunā, giving delight to His loving companions, a gentle breeze fans Him agreeably, welcoming Him by its cool and fragrant touch like that of sandal-paste; and hosts of demigods (Gandharvas and others), who play the role of panegyrists, wait upon Him with their instrumental and vocal music and offerings (of various kinds and thereby delay His return to Vraja). (20-21)

With intent to grant the desire of His near and dear ones, here comes Śrī Kṛṣṇa (a veritable moon) born of Devaki's womb—who is (so) fond of the people of Vraja as well as of the cows, for whose sake He held up the mountain (for full seven days)—collecting all the cattle-wealth at the close of the day, (nay,) playing on His flute and bringing delight to the eyes of all even by the splendour of His fatigued person, His feet being adored on the way by the oldest of the old (Brahmā and others), His glory being sung by His followers and His garland covered all over with the dust raised by the hoofs of the cattle. (22-23)

With His eyes somewhat rolling through inebriety and His face turned pale as a (ripening) plum, lighting up as He does His soft cheeks with the splendour of His gold ear-rings, Śrī Kṛṣṇa (the Lord of the Yadus)—who is adorned with a wreath of sylvan flowers, wears a cheerful countenance and bestows honour on His near and dear ones—is coming over there even as the moon at the close of day, sporting as the leader of a herd of elephants and relieving the daylong and endless agony (of separation) of the women of Vraja (who are as docile and deserving of protection as cows). (24-25)

Śrī Śuka continued : In this way, Oh Parikṣit, the women of Vraja, whose intellect and mind were absorbed in Him and who were therefore full of great rejoicing, delightfully spent their time (even) during the day, celebrating in song the pastimes of Śrī Kṛṣṇa. (26)

Thus ends the thirty-fifth discourse entitled "The Gopīs' Song in pairs of Verses", in the first half of Book Ten of the great and glorious Bhāgavata-Purāṇa, otherwise known as the Paramahamsa-Samhitā.