Another side of Bhaktivinoda 22 : A Svarasiki Adventure (Part I)
In this chapter of Gadadhar Pran's presentation of his own unique bhajan path as it was inspired by his relation with Bhaktivinoda Thakur and the Chaitanya Vaishnava tradition to which he belonged.
This follows on the three chapters describing Vishnupriya's tattva and pastimes with Mahaprabhu. Gadadhar participates in his prana Gora's pastimes in various different svarupas and prakoshthas. His approach may seem different to many people, but as he has argued in earlier chapters of this essay, these are moods that have deep roots in the sampradaya.
- Srimati Vishnupriya's glories (1)
- Srimati Vishnupriya's glories (2)
- Srimati Vishnupriya's glories (3)
N.B. When saying a svārasikī adventure, we mean a līlā meditation that follows the path of our yearning. See Chapter 3 of this series.
As we have been discussing Vishnupriya and Gauranga's madhura pastimes in the last three chapters, a desire is awakening to personally serve Priyaji. And an ideal way to do this is the process called svārasikī līlā smarana , when we envision the līlā and enter it to perform mānasī sevā in our mentally conceived siddha deha. For those yearning to attain their svārasikī sthiti, eternal place in Sri Bhagavan's nitya līlā , this process is especially recommended by Thakur Bhaktivinoda and Rupa Goswami.
In Chapter Eight readers may remember that we disclosed a longstanding desire to live near Gadadhar Pandit's abode in Goloka Nabadwip's southwestern section – in a jeweled palace along with a devoted wife, three sons and three daughters – a family set-up that will greatly help to facilitate our sevā . Because during the auspicious times when the Lord and His bhaktas enter our home and garden estate – a wonderful festival is bound to happen.
Now someone might question: “Why are you writing about your personal meditations and desires for attaining siddhi ; shouldn't these matters be kept a secret?”
To answer, we shall admit that in many cases this may be true. But on the other hand, because narratives such as this one openly discuss the most important aspects of bhajan, which are generally never discussed elsewhere, we feel inclined to offer a practical example of how rāgānugā bhakti sādhana can actually work. Then aspiring rāga mārga sādhaka and sādhikās can get some idea about how to take up the process themselves when they sit down to do japa and līlā smaraṇa . Let us bear in mind, however, this material is not for the general devotees, but for the consummate bhaktas who wish to go much deeper into the inner aspects of the devotional process taught by Chaitanya Mahaprabhu and his followers. The following story is based on some related Vaishnava śikṣā such as:
- siddha deha cinti kare tāhāi sebana , “Contemplate your siddha deha and perform mānasī sevā within that mentally conceived form,” (CC Madhya 8)
- sādhane bhābiba yāhā siddha dehe pāba tāhā "Whatever you meditate on during sādhana you will achieve upon attaining siddhi in your siddha deha . (Narottama das Thakur)
- āpana yogya smṛti kara nirantara , “Meditate on the līlā scenes that inspire you the most”, (Thakur Bhaktivinoda).
Besides these guidelines, there is another consideration that we recommend: to receive initiation in a guru paramparā that has the system of siddha praṇāli and ekādaśa bhāva. Why is this important? Because first of all, one should receive one's siddha svarūpa sevā from one's guru who has received it from his guru in an unbroken paramparā . Secondly, these guru paramparā members form our eternal family in Goloka Navadwip and Goloka Vrindavan, and they can factually guide us in these spiritual realms. Take for example, Thakur Bhaktivinoda's guru paramparā that leads us to Vishnupriya. Because in this story we want to directly serve Vishnupriya Devi, that privilege will surely be available since She is our Sampradaya Acharya. In Chapter Twenty Four this topic will be discussed in even more detail.
Let us briefly tell about our identities once again (that were previously discussed in Chapter Eight), then readers will have an easier time to follow this chapter's story. My father's name is Madhusudana Mishra. He is the elder brother of Gadadhar's father, Madhava Mishra. My name is Pranananda, and my better-half's name is Premamayi. The names of our sons and daughters are Gopinath, Govinda and Madanmohan, Madhavi, Malati and Mallika. In this family we each have a specific role to play so that we can work together as a team.
Premamayi is an expert cook who prepares the bhoga offerings, and attends to the lady guests. She is a wonderful mother to her children, and can skillfully direct all of the dasa and dasis who keep the mansion running smoothly. Her greatest fortune, however, is that Vishnupriya and Jahnava both love her dearly. Because when these two Devis come to grace our home and take charge of the kitchen, Premamayi is able to expertly assist Them and secure Their blessings. These are the times when Gaura, Nitai and the bhaktas come to perform various pastimes in the flower nikunjas that surround our palace. Gopinath, Govinda and Madanmohan have formed their own kirtan sampradaya with some fantastic musicians, and sometimes I join them. They have captivating voices and can sing beautiful ragas to match with Mahaprabhu's deep bhāvas . Hence their amazing talents often help to transport the Lord and His bhaktas when everyone is steeped in relishing the madhura moods of Vrindavan.
Madhavi, Malati and Mallika are the pujaris of our gṛha-devatā , Kelichand, and because they look like Vraja gopis – it isn't surprising that He is quite fond of them. Though for Kelichand's pleasure we have arranged the life-size vigrahas of Ananga Manjari, Radha and Her eight sakhis, who sometimes come to life to accept the prema-sevā that these three girls offer.
The Pavilion Of Golden Mirrors
Our story begins. It's early morning before sunrise. While heading for the Ganga ghat to have my prātaḥ-snāna , I see Vamsivadan coming down the hill from Mahaprabhu's palace. It looks like he has a message to relay.
“You've got to get ready quickly,” he says. “Vishnupriya is coming to bathe, and I want you to massage Her limbs with scented oil.”
Hearing the news stuns me, but it makes my mind plunges into an ānanda sāgara !
“Just change over to your sakhī svarūpa ,” says Vamsi. “Then you can perform Her sevā in that pavilion over there. She will be arriving very soon.”
“Yes, yes, surely, of course,” I reply as my female form named Padmapriya appears. And upon seeing her, Vamsivadan exclaims: “Wonderful! Wonderful! Now just enter that pavilion and wait for Her.” Vamsi then quickly scurries off – for it looks like he has some urgent work to do.
When entering the pavilion I am startled – for the walls, the ceiling and the floor are all set with golden mirrors which cast my reflection in every direction! I also notice that everything that we will need for Priyaji's massage is ready, and the moonstone vedi where She will lie down is covered in pink lotus petals.
I feel a bit nervous, though. How will I introduce myself, and how will I request Her to allow me to perform such an intimate sevā ? Thus pondering, I anxiously sit down in a corner of the pavilion.
When Priyaji enters with two sevā-dāsīs trailing behind Her, the whole room lights up with a soft golden effulgence -- as Her enchanting mūrati shines everywhere!
When I reverentially stand up to introduce myself, Priyaji interrupts me to exclaim: “O Padmapriya! Can't You remember how many times you massaged Me in Vraja when I was Radha and you were Paramasukhi? How can I forget your loving sevā ? Thus I have asked Vamsi to arrange for you to massage Me today.”
In fathoming Vishupriya's clairvoyancy and vātsalya affection tears stream from my eyes, and I fall to take the shelter of Her lotus feet. But O my! The stunning darshan of Her moonlike toenails makes me faint!
After restoring my consciousness and seating me upon the vedi, Vishnupriya starts to explain what is going on: “Listen, sakhi”, She says. “Your Prabhu has sent Me to cook in your home this morning. He will come to hear Gadadhar's Bhāgavata-pāṭha and He wants to relish Sri Kelichand's adharāmṛta prasad. Since many bhaktas will assemble I have sent Vamsi to help arrange everything -- “O sakhi, let's act quickly so that we can enter the kitchen soon.”
The two dasis don't waste a second in removing Gaura-vallabha's ornaments and clothes. And wow! Her unadorned beauty strikes me with wonder -- has the Creator truly outdone Himself in molding this exquisite form?
In noticing my stupor, Vishnuprya innocently smiles and takes up a lovely pose to question: “O sakhi! How does your Swamini look? Will your Prabhu fancy Me?”
She appears so graceful, nonchalant and natural at this tender moment. Thus I simply murmur: “You are Gaura-kāntā śiromaṇi , the Crest-jewel amongst Gauranga's limitless consorts.”
Since I wanted to massage Swamini's lovely legs and lotus feet, the two dasis start to gently massage Her upper portion and head. I can't believe how soft and delicate Her body is. After a moment, however, Her lotus eyes close as a serene smile graces Her contented face. It appears that She has dozed off.
There couldn't be a better time for Gorachand to show up – as He is the Lord in everyone's heart (antaryāmī ) He must know what is going on. Or could it be Swamini's amazing ākarṣiṇī śakti that has lured Him? Upon entering the pavilion Gaura's stunning aura glistens within every mirror – but Gaura-vallabhā misses seeing Him as She has fallen asleep. Or could She be pretending to be asleep -- just to charitably award Him the vision of Her amazing rūpa mādhurī ? For Her sensational figure would surely deliver a divine pleasure He can find nowhere else in the three worlds!
Prabhu motions us to be silent – and we gladly agree, to witness His bliss in relishing Swamini's unadorned beauty. But then He turns impatient to touch Her – and comes over to take up my sevā . That is when Priyaji instantly awakens, and catches His two lotus hands, to exclaim: “O Prananath! Won't You allow Your dasi the privilege to massage You first?”
Vishnupriya's dakṣiṇā-bhāva is bold and resolute. Thus Prabhu submissively replies: “O yes, Priya! Why not? You may massage Me, kiss Me or do whatever You wish, for I am totally surrendered to You!”
In getting Prabhu's incentive Priyaji will now rise above Him to award the greatest pleasure in rati keli. But She motions that we leave the room first. In failing to fathom Her motive, I take one last look to Her. Then She winks at me, and points to Her lovely wedding ring with a broad smile. “Now why did She do that ? ” I wonder.
Sri Visvambhara Shiva's Puja
Coming out of the pavilion, and feeling a bit hurt, I start to head back to the palace. Then I hear someone calling: “O Padmapriya! Please help me.”
As I look back, there is Gaura sundar, and He is wearing only a gamcha.
“Hey sundari ! ” He exclaims. “You're such a great masseuse, can you give Me a massage before I take My Ganga snana?”
“Sure Prabhu,” I reply. “Where shall I do it ? ”
“Let's enter this pavilion over here, ” He says.
When stepping inside I am surprised once again – for this room is filled with golden mirrors too – and thus our reflections become cast in ever direction!
Without wasting time Prabhu lies down on the sunstone vedi, and I begin to massage His lotus feet with scented oil. He is in a talkative mood and inquires: “O Padmapriya, are you married? ”
“No, I'm not, Prabhu, ” I reply.
“Well, since you're so pretty, why isn't your father arranging your marriage? ”
“There is a problem, Prabhu, we cannot find a suitable match.” I answer.
Changing the subject, Gaura asks: “O where are those other two girls? It looks like you will have to massage My whole body.”
Thus speaking, He removes His gamcha, and falls silent.
On the good advice of a few sensible readers, we have removed a small portion of the story here –owing to its being quite intimate. If someone may be interested to read this portion, however, the author can forward it to you by writing to
gadadhar̮das000@yahoo.co.in
The Auspicious Marriage
Beside the pavilion of golden mirrors rests a large shady banyan tree. And from its base there are crystal steps which lead into the water. As the Ganga's bank curves here like a crescent moon, this splendid place remains hidden. So after performing their Kandarpa-jajna, Padmapriya and Gaurasundar now take their avabhrita snana (the concluding rites which follow a great jajna) at this sacred tirtha. They are embracing and kissing in the water as so many heavenly thoughts stream through their minds. Because after enjoying rati-keli for the first time they have completely fallen in love. So what does Gaurasundar do? While clasping Padmapriya's two lotus hands to His chest, and looking deep into her eyes – He puts forth that most love-stirring question: “Will you marry Me ?” and she instantly says “Yes!”
When Gaurasundar carries Padmapriya in His arms out of the water and sits down with her under the shady banyan tree, however, she curiously begins questioning her newly acquainted husband: “O how will You marry me? Are You not already married? Where will You keep me? And who will testify that we are married? ” Gaura then answers with a smile: “O Priya! As I lovingly accept you as My wife, and you lovingly accept Me as your husband, does anything else matter? ” “But how will I know that You are really my husband? ” Padmapriya questions. Gaura thinks for a moment, and then takes from the wish-fulfilling banyan tree a beautiful wedding ring and places it around Padmapriya's ring finger, saying: “Let this be a reminder that our conjugal love will last forever.”
Padmapriya's heart melts, and tears stream from her eyes, as she can now understand why Vishnupriya asked her to leave.
Rasa Analysis
Here we discover another very sweet mellow that is found in Vraja's nikunjas resurfacing in Goloka Navadwip. In Ujjvala nilamani's, Krishna vallabha prakarana, 21-23, Rupa Goswami describes the kanyakas. These gopi heroines are generally younger, unmarried, and they worship Krishna in the mood of being their husband, and to reciprocate their love He behaves with them as such.
In Goloka Navadwip this splendid bhava is more common, however, because Vishnupriya often wishes that Her sakhis relish a rasa with Gaurasundara that is similar to Hers. And Yogamaya really causes such a mood to flourish between the Lord and His consorts. In one sense this bhava is very convenient because the husband and the wife involved in such affairs experience the incredible romantic bliss of being a newly-wed without the extra samsara hang-ups that come along with married life.
Today's Bhagavata Discourse
Before returning to the palace, where I will be a host today, I re-assume my external male form of Pranananda Mishra. From the Ganga's shore Goloka prema-dhana-sankirtan can be heard coming from the palace's mandir – a divine vibration that transports not only the bhaktas, but every moving and non-moving object too.
Nearing the mandir, I see Mahaprabu's bhaktas arriving from every direction. They wear dazzling white dhotis and chaddors, their bodies are a brilliant golden color, they have moon faces, lotus eyes, wear Hari-mandira-tilaka , and their sat-cid-ananda forms are nitya kishora.
Upon glancing into the mandira I can fathom that Mahaprabhu hasn't arrived yet, and neither has Gadadhara Pandita who will speak today's Bhagavati-katha. So I head for the kitchen to check on what Premamayi is doing. And coming closer, I see Vishnupriya and Jahnava seated in the parlour. Premamayi is attentively serving Them some light refreshments before They will enter the kitchen. Mahesvari, Ramamani and some other Goswamini women have also come to assist today. I'm happy to see that Madhavi and Malati have taken up camaras to carefully fan Vishnupriya and Jahnava. But upon noticing me watching them, they blush.
When entering the mandira – there I see Mahaprabhu seated before the Vyasasana, and everyone's eyes are upon Him. Gopinatha, Govinda and Madanmohan have already begun the festival's invocational kirtan, and a splendid orchestra is backing them up consisting of vinas, flutes, svara mandala, mridangas, kartals, tablas and various other instruments. To enhance Prabhu's mood their song describes Krishna's beautiful form from Radhika's perspective:.
nayanaṁ madhuraṁ hasitaṁ madhuram
“Your lips are madhura, Your face is madhura, Your eyes are madhura – and so is Your smile!”
Aho! Mahaprabhu's body erupts in sattvic emotions, as He really appears to be Radha relishing Krishna's rūpa mādhurī!
rūpaṁ madhuraṁ tilakaṁ madhuram
“Your well chosen words are madhura , Your charming activities are madhura , Your enticing body is madhura – as well as Your stunning tilaka.”
Upon witnessing Mahaprabhu's captivating bhāvas everyone remembers that they are a Vraja gopi too!
“Your bodily movements are madhura, Your walking steps are madhura, Your dancing poses are madhura , and the way You steal my patience – that is madhura too!”
Mahaprabhu cannot remain seated and gets up to dance. He is oblivious to the world around Him. But when Gadadhara comes and stands before Him – His Radhabhava breaks as He suddenly realises: “ O ho Gadadhara ! You are Radha, and I am Krishna ! ”
In witnessing the colourful drama the bhaktas cheer and loudly shout Haribol! Then turning to the assembly with folded hands, Gadadhar humbly begs for the bhaktas' permission to assume His seat upon the Vyasasana. Thus to honour Him everyone stands up, as Svarupa Damodara recites this stava:
kalau śrī-gaura-dayitā śrī-gadādhara-paṇḍitaḥ
sarva-pāṇḍitya-sārākhyaṁ prema-ratna-vibhūṣaṇam
mādhavātmaja vandyāgraṁ vande rādhā-gadādharam
Vrindavaneshwari Radha, Who is the source of prema bhakti, now appears as Gauranga's confidante, Gadadhar Pandit. You are the greatest scholar ornamented with the jewel of mahābhāva prema. Thus our praṇāmas go to Madhava Mishra's son, Sri Radha-Gadadhara.”
Around this time Vamsivadana enters the assembly carrying the Śrīmad Bhāgavatam on his head. And as he places it upon the dais for Gadadhara to duly worship, Gadadhara surprises everyone, as he offers the following prayer :
tvaṁ vaṁśīvadanānandaṁ vande tvāhaṁ jagad-guro
“The Vamsi is Krishna's nitya prema svarūpiṇī who can attract the whole universe – and now she appears as Vamsivadanananda, the jagat guru.”
After reciting this, Gadadhara looks to Mahaprabhu with a request: “Since the Vamsi's sweet vibration initiates us with the Kāma-gāyatrī and forcefully lures us from our saṁsāra to surrender us at Krishna's lotus feet, isn't she our prema guru? Therefore, I have a great zeal to hear Vamsivadana's Bhāgavata-vyākhyā today.”
Mahaprabhu is speechless, and as He looks to the bhaktas, they cannot decide what to do either. Meanwhile, Vishnupriya intuitively comes out of the kitchen to stand behind one of the crystal pillars in the mandir. Although no-one has noticed Her, Gaura's restless eyes instantly soar to relish the madhu of Her pretty lotus face. And upon fathoming Her decision, He joyfully announces to the assembly: “Sri Vamsivadana will deliver today's Bhāgavata-pāṭha! ”
Gadadhara then cordially seats Vamsi on the Vyasasana, and comes to sit on Gaura's left side. After completing the Bhagavata's puja with an offering of Tulasi, chandan, three malas, and naivedya, Vamsi motions that I come and take the garlands.
As I approach the Three Prabhus, and first place a golden campa mala around Mahaprabhu's neck, a pink lotus petal mala around Nityananda's neck, and a white juthi garland around Advaita's neck – cheering and stirring ulu vibrations commence from the crowd! Then I adorn the Three Prabhu's foreheads with aguru candana.
Since Vamsivadana is today's speaker, I next go to offer him a garland of roses, but he directs me to place it around Gadadhara's neck, to honour him first. In this way, as I go to worship Mahaprabhu's bhaktas by offering a garland to each one of them, and anointing their foreheads with candana, I feel their krpa ashirvada fill my heart with joy.
Vamsivadana then asks Mahapabhu: “What sort of Kṛṣṇa-kathā would You like to hear ? ” “O please tell about the gopis' abhisara, their going to meet Krishna for the Rāsa dance,” Prabhu exclaims.
“Alright,” Vamsi replies. “But since You are my śikṣā guru (who previously taught Krishna's rasarāja upāsanā doctrine to me, I pray that my tongue become like a vina so it can resound in whatever way You wish to play it.”
Here is today's maṅgalācaraṇa :
ramyā kācid upāsanā vraja-vadhū-vargeṇa yā kalpitā
śrīmad-bhāgavataṁ pramāṇam amalaṁ premān pumartho mahān
śrī-caitanya-mahāprabhor matam idaṁ tatrādaro naḥ paraḥ
“Let me explain this verse, ” Vamsi says. “According to our Sampradaya Acharya, Sri Chaitanya Mahaprabhu, Vrajendra-nandana Krishna is our ārādhya-Bhagavān , and the gopis method of worshiping Him is the best. So the gopi-prema that we hear about in the Śrīmad-Bhāgavatam is our parama-puruṣārtha, supreme goal of life.”
Vamsi goes on: “For the materialists, however, who have doubts about the gopis' supreme position, Maharaja Parikshit raises this question before Sukadeva Goswami:
guṇa-pravāhoparamas tāsāṁ guṇadhiyāṁ katham
Since the gopis know Krishna to be their supreme lover (param kānta ) alone, and overlook His being the Supreme Brahman, how can they attain liberation, since the shastras affirm that brahma-jñāna is the very cause of mukti?”
Sukadeva answers: “Hey Rajan ! Haven't I told you previously that Sisupala attained sayujya mukti by hating Krishna – so how much more of Krishna's mercy will the gopis attain since they are His dearest companions in conjugal love ? ”
Sukadeva continues: “By fixing oneself in deep absorption on Krishna one can attain Him by kama, hatred, fear, affection, the desire to be one with Him, and friendship, etc. But when the gopis direct their kama to Krishna this is by far the best method as it brings them the closest to Him. So to reciprocate their deep love Krishna performs His greatest līlā, the Rasa. In the Rāsa-pañcādhyāyī (the Bhāgavatam's five chapters that narrate the Rāsa-līlā) Sukadeva Goswami tells about this in the very first verse:
vīkṣya rantuṁ manaścakre yogamāyām upāśritaḥ
The romantic atmosphere of the autumn's full moon night along with its blooming mallika and other fragrant flowers stirs within Krishna's mind the loving desire to enjoy ramana kridha with the gopis. Thus He takes shelter of His internal Yogamaya sakti.
Vamsivadana comments: “This verse reveals how our Krishna is a rasika, a true connoisseur Who knows the art of when, where, how, and with whom sringara, His divine erotic pastimes, can ideally flourish. Here bhagavanapi means that even though Krishna is Svayam Bhagavan and Atmarama (self satisfied), He nevertheless becomes zealous to make love with the gopis, Rupa Goswami tells how qualified they are in this verse:
upasanna-yauvana-guror adhītya yāḥ smara-keli-kauśalam udāharan harau ||
Krishna's gopi consorts advent from His mādhuryamayī śakti , and hence they are the most fortunate ramanis in the three worlds. For after mastering the art of rati-keli from the guru of their incomparably sensuous bodily limbs – they love to demonstrate their amazing skill for Krishna's sambhoga pleasure alone. Thus I (Rupa Goswami) offer my pranam to their lotus feet. (UN 3.2)
Vamsi continues: “The previous verse's two words tā rātrīḥ 'those nights' refer to the promise that Krishna made on the last day of the gopis' Kātyāyanī vrata. Because after He stole their clothes, along with their mind, body and souls, He assured them that He would fulfill their desires on some future evening. So now that splendid night has come, for the autumn's full moon undoubtedly stirs romantic sentiment unlike other times in the year. And upon seeing its rays playing over the Yamuna, and its glistening light beams illuminating the Vrindavan forest – where the flowers of every season are coming into bloom – Krishna takes full advantage of Yogamaya's shelter so that these romantic moments can last for millions of years – the duration of Lord Brahma's night.”
Vamsi will first sing the Bhāgavatam 's following six verses in various rāgas for the pleasure of Mahaprabhu and His bhaktas. Then in the next chapter, Vamsivadana's commentary on these verses will begin.
ramānanābhaṁ nava-kuṅkumāruṇam
vanaṁ ca tat-komala-gobhir añjitaṁ
jagau kalaṁ vāma-dṛśāṁ manoharam
Seeing the rising full moon which is tinted red like kunkuma awakens Krishna's prema-bhava – as it reminds Him of Vraja-laksmi Radha's beautiful face. While noticing the lilies opening, and the forest gently becoming illuminated by the moonlight, Krishna begins playing the Vamsi to attract His beautiful eyed gopis. (SB 10.29.3)
vraja-striyaḥ kṛṣṇa-gṛhīta-mānasāḥ
ājagmur anyonyam alakṣitodyamāḥ
sa yatra kānto java-lola-kuṇḍalāḥ
The Vamsi's enchanting song overwhelms the gopa-kishoris with kama – as their minds were already captivated by Krishna. So without telling anyone they hurry to meet their lover (kanta) – as their earrings elegantly swing back and forth. (SB 29.10.4)
payo’dhiśritya saṁyāvam anudvāsyāparā yayuḥ ||
Some of the gopis were having the cows milked, and upon hearing the Vamsi they rush to meet Krishna! Some left milk boiling over the stove, and others left cakes burning in the oven. (SB 10.29.5)
pariveṣayantyas tad dhitvā pāyayantyaḥ śiśūn payaḥ
śuśrūṣantyaḥ patīn kāścid aśnantyo’pāsya bhojanam
limpantyaḥ pramṛjantyo’nyā añjantyaḥ kāś ca locane
vyatyasta-vastrābharaṇāḥ kāścit kṛṣṇāntikaṁ yayuḥ
tā vāryamāṇāḥ patibhiḥ pitṛbhir bhātṛ-bandhubhiḥ
govindāpahṛtātmāno na nyavartanta mohitāḥ
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śuśrūṣantyaḥ patīn kāścid aśnantyo’pāsya bhojanam
limpantyaḥ pramṛjantyo’nyā añjantyaḥ kāś ca locane
vyatyasta-vastrābharaṇāḥ kāścit kṛṣṇāntikaṁ yayuḥ
Some of the gopis were dressing, breastfeeding their infants, or serving their husbands. But they leave everything to meet Krishna. Other gopis were having their evening meal, bathing, putting on cosmetics, or applying kajjal to their eyes. But they stop everything at once, though their clothes and ornaments were in complete disarray, and rush to meet Krishna ! (SB 10.29.6-7)
govindāpahṛtātmāno na nyavartanta mohitāḥ
Although their husbands, their fathers, their brothers or their friends all tried to stop them – Krishna has already stolen their hearts – so while enchanted by His flute song they refuse to turn back ! (SB 10.29.8)
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