Chapter Twenty-two Nisha Lila 10:48 p.m. -3:36 a.m.

The Rasa Lila

Let us first enter Sriman Gaurasundars Nabadwip Lila: Sri Gaura Candrika : The Sutra zrI-zrIvAsa-gRhe mudA parivRto bhaktaiH sva-nAmAvalIM gAyadbhir galad-azru-kampa-pulako gauro naTitvA prabhuH puSpArAma-gate suratna-zayane jyotsnAyutAyAM nizi vizrAntaH sa zacI-sutaH kRta-kalA-hAro niSevyo mama

On the moonlit nights Sri Gaurahari joins his bhaktas at Srivasa Angana to sing Krishnas names. Yet as the kirtan and dancing goes on, Gaura Natavara becomes overtaken by tears, trembling and horripilation! Then, after sankirtan, he enjoys fruits, sweets and other refreshments with the bhaktas and goes to take rest in a jeweled, mandir in Srivasas garden. Let us thus serve Sri Sachinandan. (BhAvanA-sAra-saGgraha 8.1) Rasa-tarangini Tika: Here the mention of jyotsnyuty nii, on the moonlit nights, is noteworthy. One might wonder. Does this mean that Mahaprabhu goes to Srivas Angana only when the moon is shining? What about the other nights? To answer this, the following tattva is inserted: tabe prabhu zrIvAsera gRhe nirantara rAtra saGkirtana koilo eka saMvatsara Sriman Mahaprabhu performed sankirtan at Srivasas house every night for one full year. (CC 1.17.34) This specific one year period occurs during Gaurasundars mid-kaishora lilas which ideally match his eternally manifest Goloka Nabadwip pastimes. Hence, because Gaurangas ashta-kala format belongs only to Goloka Nabadwip, his going to Srivasa Thakurs house for sankirtan always happens as an eternal feature of these pastimes. But as to the question of the moonlit night, it is Yogamaya who arranges for a full moon every time to enhance the Maha-Rasa-sankirtan festival. Similarly, Govinda-llmta tells us that Yogamaya always arranges a full moon for Radha Govindas Rasa lila, too. The Gutika elaborates on Nabadwips Nisha lila as follows: As Gaurasundar sits with the devotees on Srivasa Thakurs veranda, Radha Govindas Yogapith lila comes to mind. So in that mood, Mahaprabhu goes to the Yogapith mandir (in the flower garden) and stands in the lotuss karnika (central whorl). Gadadhar stands on his left and Nitai-cand on his right. Advaita stands in front and Srivasa stands behind Gaurasundar, holding an umbrella. The other bhaktas also come to stand in their respective positions. (See the Pratah Yogapith description.)

Then, with his Gurus consent, the sadhaka das enters the karnikara to worship the Panca Tattva with chandan, garlands, flowers and Tuiasi. And after offering pan, arati is performed. Next, with the prasadi articles, the sadhaka das worships the other bhaktas and his Guru-varga. After Gurupuja, the sadhaka takes darshan of the Yogapiths madhuri. standing behind his Guru. (This is done in manasa seva.) When Svarupa Damodar sings about Vrindavans Yogapith lila, Mahaprabhu becomes absorbed like Krishna. In a tribhanga lalita stance he affectionately glances towards Gadadhar and begins playing a flute. Then leading all of the bhaktas out of the mandir, Gaurasundar wanders through Srivasas beautiful six-seasonal flower gardens. Knowing his mood, Svarupa sings about Krishnas vana bhramara lila with the gopis. Then Mahaprabhu comes to sit under a huge madhavi lata with the bhaktas, and Svarupa sings about the prahelis (riddles) which Krishna enjoys with the: gopis. And as soon as he becomes overwhelmed by the moods of Rasa lila, Gauranga swiftly goes to the Ganga to begin dancing. Svarupa sings about the Rasa as the bhaktas dance along with him. After the Rasa dancing Gaurasundar returns to Srivasa-angana to rest. But as he sits with the bhaktas he listens to a kirtan about Radha Krishnas madhu pana lila. Knowing about everyones hunger and fatigue, Srivasa brings a ripe mango. Then, as Mahaprahhu places it on the ground, a mango tree grows to full maturity! There arc hundreds of ripe fruits. and Gaurahari picks and distributes them. The fruits (being divine) have no seeds and are pure nectar, so one fruit alone satisfies each bhakta. Thus Sachinandan enjoys an amra mahotsava every day after Maha-Rasa sankirtan. Then Svarupa sings about Radha Krishnas kunja vilasa and Yamuna keli. Srivasa, knowing the Lords mood, supplies everyone with a white snana vastra and, as Gaura proceeds to the Gangas ghat, the bhaktas follow. Upon entering the water, jala keli begins and Gaura sports with Gadadhar. When coming out of the water, Gaurasundar sits on a vedi in Srivasas flower garden where he is dressed in pushpa attire with pushpa shringar. Returning to Srivasa-angana Svarupa Damodar sings about Radha Krishnas shayana lila. Then Srivasa and his brothers call everyone for having late-evening bhojan and afterwards, Srivasa arranges everyones sleeping accomodations in his flower garden. Nitai, Gaura and Advaita all have special jeweled shayan mandirs and their respective bhaktas take rest around them. In Sri Vishwanath Cakravatipadas description, Gaurasundar returns home late at night to be with Srimati Vishnupriya and Lakshmipriya, and in other descriptions Mahaprabhu takes rest with Gadadhar. 1. The Vraja Nisha Lila Sutra tAv utkau labdha-saGghau bahu-paricaraNair vRndayArAdhyamAnau gAnair narma-prahelI-sulapana-naTanaiH rAsa-lAsyAdi-raGgaiH preSThAlIbhir lasantau rati-gata-manasau mRSTa-mAdhvIka-pAnau krIA-cAryau nikuJje vividha-rati-raNa uddhatya vistAritAntau tAmbUlair gandha-mAlyair vyajana-hima-payaH-pAda-saMvAhanAdyaiH premNA saMsevyamAnau praNayi-sahacarI-saJcayenApta-zAtau vAcA kAntairaNAbhir nibhRta-rati-rasaiH kuJja-suptAli-saGghau rAdhA-kRSNau nizAyAM su-kusuma-zayane prApta-nidrau smarAmi 1-2 When Radha and Krishna meet, Vrinda worships them with many fine articles. Then a host of lilas

begin such as: vana vihara, praheis (riddles), singing, Rasa dancing and Madhupana. When the Divine Couple becomes tired the sakhis serve them by fanning, foot-massaging, supplying water, divine fragrances and pan. At last Sri Yugala Kishor happily fall asleep on their bed of flowers. Lets thus remember their nisha vihara. (Smarana-mangala, 10-11) Although it is not mentioned here, the Yogapith, Yamuna jala-keli and late night bhojan are also included amongst Radha Krishnas nisha pastimes. 3-4 With a humble entreaty, Vrinda and her vana devis escort Vrajanath and Vrajeshwari Rai from the ratna mandir to a golden vedi which basks in the moonlight. Their throne is decorated with scented flowers, covered by a sort, velvet sheet and cooled by the Yamunas breezes. Pan, scents and freshened water are brought from the shilpa shalas. Then Sri Yugala Kishor are outfitted with flower ornaments, crowns and malas as the dasis fan them, using chamara whisks. The Gutika now describes Radha Govindas Yogapith lila. The sadhaka manjari can perform this seva as previously described in the Pratah Lila. Sri Narottam Das Thakur depicts this scene as follows: vRndavana ramya-sthana, divya chintamani dhAma, ratana mandir manohara avrita kalini nire, rAja-hamsa keli kore tAhe shohe kanaka kamala tAra madhye hema pitha, azta-dale veStira, azta-dale pradhana nayaka tAra madhye ratnasane, bosi achen dui jane zyAma saGge sundari rAdhikA o rUpa lavanya razi, amiyA podiche khasi, hasya parihaza sambhazane narottama dAse koy, aitya lIlA sukhamaya, sadAi sphuruka more mane Vrindavan is a pleasureful divya chintamani dhama, here there is a ratna mandir which is caressed by the Yamunas rivulets, where swans frolic amidst the golden lotus patches, the mandir has a golden throne where the ashta-sakhis stand upon eight lotus petals. In the center is the pradhana nayika Radhika sundari, sitting on a jeweled simhasna beside Govinda Deva. As the Divine Couple laughs and jokes, nectar appears to be pouring from their effulgent sweet forms. Narottam Das says, Let their anandamaya nitya lila always appear within my mind. This pada focuses only on the inner whorl of the Yogapith mandala; yet there are thousands of petals where Radhas other sakhis stand. 5 Govinda contemplates: Here is that wonderful moonlit night, that pleasureful forest, that beautiful Yamuna-bank and here are my dearest gopis Thus his desire to enjoy Rasa awakens. This verse brings to mind the first shloka of the Bhagavatas Rasa Pancadhyaya.

bhagavn api t rtr aradotphulla-mallik vkya rantu mana cakre yogamym uprita Seeing the beautiful autumn-night with its blooming mallika flowers, Bhagavan Sri Krishna desires to ramana with the gopis, thus he takes Yogamayas shelter. (SB 10.29.1) 6-12 Hence the lila begins: vana vihara (forest sight-seeing), chakra bhramana (dancing upon the spinning chakra), hallishaka nritya (ladies circular dancing), yugma nritya (Krishna and the gopis dancing), lasya-nritya (the gopis dancing), eka eka nritya (single dancing), the gopis singing, rati krida and jala keli. Seeing Radha Krishnas appearance, the spring displays her opulences: the full moons lightbeams filter, gentle malayan breezes toss the dancing forest latas and the sounds of the bees and the kokilas form an orchestra. Thus Krishna becomes zealous to enjoy vana vihara with the gopis. Krishna makes his desire known to the gopis by playing his flute, and they respond by singing Krishnas names. Krishna says, Oh dear ones! The moonrays beautify the forest and its flowers and they are carrying my desire to enjoy with you. The gopis answer: Oh Krishna, Krishna, Krishna! Oh Ramana! Let it be so! Thus taking his sundari ramanis, Krishna sweetly sings and wanders with them under every tree and every lata and in every kunja. The Vraja sundaris sing about Krishna as they joyfully wander with him. Yet meanwhile the lata dance, and the kokilas, the bees and the peacocks sing in the fifth scale. Rasa-tarangini Tika: Srila Narottam Das Thakur depicts this scene: kadamba tarura dala, namiyAche bhUme bhAla phuTiyAche phula sAri sAri parimala bhorala, sakala vRndAvana keli kore bhramara bhramarI rAi kAnu vilAsai raGge kibA rUpa lAvani, vaidagdha khani dhani, maNimaya AbharaNa aGge rAdhAra dakSiNa kore, dhari priya giridhara,

madhura madhura coli jAy Age pAche sakhigaNa, kore phula bariSaNa kono sakhI cAmara dhulAya parAge dhUsara sthala, candra kore suzItala, maNimaya vedIra upore, rAi kAnu kara jori, nRtya kore phiri phiri, paraze pulaka tanu bhore mRgamada candana, kore kori sakhI gaNa bariyase phula gandha rAje zrama jala bindu bindu, zobhA kore mukha indu adhare muralI bAje hAsa vilAsa rasa, sarala madhura bhASa narottama monoratha bhoru duhuka vicitra veza, kusume racita keza locana mohana lIlA koru Overloaded with flowers, the kadambas branches gracefully bend to the ground. And as the flowers wonderful fragrance permeates the forest. The bees buzz hither and thither. Aha! Rai Kanu wander playfully. Rai is a jewel mine of luster, form and cleverness, and as she clasps her priya Giridharis hand, they gracefully stroll, forming a madhura madhura scene. From in front and behind, some sakhis toss flower petals and others twirl chamara whisks. Kanu dances in circles, holding Rai in his arms and when they touch, they horripilate! The sakhis dip flowers in kasturi and chandan and toss them over Sri Yugala Kishor, yet still perspiration droplets adorn their moon-faces. Then Krishna places the murali to his lips. Sometimes they laugh...and sometimes they musingly chat. Aho! Narottams desires become completely fulfilled. Their dress is colorful, and their hair is bound with flowers. So let this lochana mohan lila go on! (Prarthana) 1. 13-19 The darshan amrita of Krishnas Vasanta vana vihara brings the trees, the latas, the bees, the deer and the birds back to lifelike someone awakening after fainting! So just as people dress up to warmly welcome the King and the Queen, Vrindavan dresses with the moonbeams, places its deer, birds, bees and other family members in front, and ecstatically trembles with the malayan breezes to greet Radha Govinda. The forest is painted gold and silver by the gaurangi gopa kishoris luster stream mixing with the effulgent moonrays. But when Kanakini Rais aura merges with Krishnas indranila mani kanti, their bodies turn emerald green like new tamal leaves basking in the moonlight. Govinda asks the forest inhabitants: Oh birds! Oh trees! Oh latas! Oh bees! Are you all well? The trees flowers and branches are its hands and feet. Thus as the malayan breeze instructs, the atavi dances in jubilation to welcome Kishora and Kishori! As Radha Shyamas anga parimala pervades, the madhu intoxicated bees soar around them. But seeing their fatigue, the madhavi vines call them back as the breeze flutters their band-like leaves.

The madhavis are the bees springtime lady friends, so the madhavis affection for the bees is natural. But noticing their lover-boy bees turning dizzy while soaring around Radha Govinda, they wave them back. To drink their honey, however, having found a better source of honey, the bees neglect the madhavis call. 20 Because the gopis discard their kula dharma for Govindas pleasure, the madhavis offer praise with their honey-bees drone. Ananda Vrindavan Campu mentions that as the bees [CENSORED] the madhavi flowers honey, their intoxicating buzzing resembles the spring festivals trumpeting conchshell. But just as the pollen-sucking causes inebriation, so does the bees buzzing awaken the intoxicating moods of Madana. 21 The flowering mallika latas beam at Krishna with their bee-like eyes, and smile with their blossoming flowers. So as the wind blows through their restless sterns, they dance for Krishnas pleasure. Krishna is the jagat prana; everyone has a loving tie with him. Yet in prema-dhama-vrindavana even the immoveable objects move in step with premas dance. 22 Seeing Govinda, the other latas offer an auspicious welcome with their chirping birds, and while the wind tosses their stems, their leaves show dancing hand mudras. 23 From kunja to kunja, flowerpetals and gunjaberries fall on the ground to form colorful keli talpas (beds of flowers). The sound of the kokilas and the bees instigate Kandrapas moods, hence RadhaKrishnas desires for prema vilasa and the sakhis desires for sevananda awaken. 24 Everyone knows that the peacocks call when the lightning flashes amidst the clouds, but today they are calling ke-ka with even greater ananda. Seeing nava jaladhara syama and prema saudamint Rais keli madhuryathey dance with opened talifeathers ! 25 The Vrindatavis bird-songs, cool breezes ripe fruits, pleasant moonbeams and fragrant flowers please Krishnas ears body, tongue, eyes and nose. 1. Kusuma keli vinoda 26-28 Then Sumukhi Rai picks two slightly blooming ashokclusters and tries to place them beside Krishnas ears, but her hand shakes!

Dhira Lalita Madhava, however, wants Priyaji to wear the flowers, so he tries to catch them, but shrimati steps aside! Then Krishna quickly steps behind to snatch the flowers. Although Raidhani is the Jaya Sri Svarupini, this time she loses, and Krishna places the flowers beside her ears. The gopis are sukanthini and madhura bhashini and their slim waists are more elegant than a lions, but as they sing about Krishna, he fondles them while pretending that he will decorate them with flowers. Hence their desire to enjoy nirjana rati strongly awakens. Ananda Vrindavan Campu provides more details: Using his fingernail, Syamasundra writes lovemessages on a leaf and presents them to his preyasis. He picks the best flowers to make their kanchulis, and using the latas, he makes armlets, and then he tosses flower pollen over their hair! But Krishna doesnt stophe also fashions mallikaflower necklaces, kadambaforehead decorations and sthala padma hair ornaments. Then he places Lodhraflowers beside their cheeks, offers kunda flowers neck-ornaments and strings their waist-bells from bakula, Keshara and NagaKeshara flowers. And the gopis reciprocate: one Vrajasundari places Naga-Keshara flowers beside Krishnas ears and Ketaki flowers in his hair. Another sundari galands him with a mallika mala, one leading gopi decorates his turban with ashok clusters, another offers a yuthi-mala and someone makes armlets and waist bells from bakula flowers . Then vishuddha vana vilasa* begins. And as the forest echoes with the madulin pitched sound of the bees and the kokilas, the Vraja sundaris lose themselves in Kandarpas fascination! (Krishnahnikakaumudi) 1. Phula Dola (Flower Holi) The kanaka ruchi Vraja lalanas pick punnaga flowers, extract their pollen and throw it over Krishna as their jingling bracelets announce the fresh start of Kandarpas battle! But Krishna retaliates! He picks more flowers, rolls them into balls and hurls them back! Althought the gopis flower bombs hit Krishna from every direction, still, somehow, Krishna manages to win, and the shukas call Jaya! Jaya! Jaya! to cheer his victory. Thus feeling a bit proud of his conquest, Krishna approaches Radhika, hoping to defeat her too. But Radhas stren eyes and arching brows captivate him, so the sharikas shriek: Jaya! Jaya! Jaya! Vrishabhas nandini! When Radhika picks fragrant punnaga flowers some bees fly out to frighten herand her hand trembles! Thus Krishna says. Hey Vinodini! Because youve defeated the punnaga (the shreshtha purusha) its no wonder that youve shaking. Then, as Krishna smiles, Radha lowers her head and reveals a sweet smile too. Seeing a special flower on a high branch, Radhika wants to pick it, so standing on her toes she stretches out her lata like arms, but then her lower garment slips off! Thus as she turns nervous, Krishna seizes the opportunity to lift Radharani from behind. This only embarrasses her further. One Vraja bala feigns calamity, saying: Oh, pollen fell in my eyes! Thus raising her lata arms, her bracelets jingle as she pretends to remove the pollen. Krishna then shows concern, saying, Oh no, oh no! Let me see, let me see! Placing his lips beside the gopis eyes, Krishna pretends that he will blow the pollen awaybut he kisses her eyelids instead ! When Radha raises her arms to pick flowers, the flowers out of reach take to sakhi bhava and descend lower on their branches so that Srimati can pick them. (Krishnahnika-kaumudi) 29Owing to Krishnas touch the sakhis bodies become ornamented with vivvok, vilasa, lalita and

kila kinchit bhavas. This is the outcome of Krishnas fondling the gopis while pretending to decorate them with flowers mentioned in the previous verse. bibboka alankara: prideful neglect of the beloved. vilasa alankara: Ones stance, movement, facial expression and eye gestures upon seeing the beloved . lalita alankara: The unique stance, bodily curve, and facial expression upon seeing the beloved. kila-kincita: Pride, desire, shrieking, smiling, jealousy, fear and anger that simultaneously arise from the hearts elation upon seeing the beloved. 30 As Krishnas wanders, he approaches some of the latas to describe their madhuri, but then with the buzzing of their honeybees, they sing Krishnas glories. So Krishna picks their flowers to touch them. 1. Rasa Sangita 31-35 Thereafter, Krishna composes songs about the moon, the latas or the stars.... and the sakhis respond with similar songs which describe Radha Govinda. Krishna sings, The kalanidhi (moon) excites everyones romantic desires when coming between the two stars Radha and Anuradha. The gopis respond: Sri Kalanidhi (Krishna the expert lover) has come between Radha and Lalita to excite their desire for rati. Krishna sings: Just see the Malati embracing the punnagatree on this splendid moonlit night. The gopis respond: Seeing Purushottam and praphulla Radha embracing in the moonlight makes us happy! The word mAlatI can mean the moonrays, the night, the malati lata or a highly qualified nayika. And punnAga can mean either the punnaga tree (naga-keshara) or the greatest male (Sri Purushottam). 36-37 Krishna sings: Aho! The madhavi lata enhances the springs beauty and the spring enlivens the madhavi. So doesnt their sangananda make the entire world joyful? The gopis answer: Madhava looks beautiful as he is embraced by Madhavi, and Madhavi loooks beautiful embraced by Madhavaso everyone rejoices at their madhura milan! Just as the madhavi lata and the spring are an ideal match, so are Madhavi and Madhava. Hence, seeing their tender prem-alingan or loving embrace, whose eyes wouldnt become joyful? 38-39 Krishna sings: The forests blossoming tamal unites with the kanchan valli* to allure the honey

bees. The sakhis reply: Because Tapincha Mauli (peacock feathered Krishna) unites with Kancana Vallari Rai and her alis, everyone is happy! When the kanchan lata embraces the tamal tree, is blooming flowers nourish the honeybees. But as kanakini Rai embraces krishna, her soft smiling face resembles a honeyfilled Svarna ketaki flower that delights her sakhis. Hence everones joy increases. 40-41 Krishna sings: The madhusudanas enjoy vilasa with the the lotus and their buzzing excites everyones romantic desires. The gopis sing: Aha! Madhusudans heart-rending songs deliver Madanas message to the Vrajapadminis who are enjoying vilasa with him! In our world, the lotuses blossom in the day, but in Krishnas madhura Vrindavan they blossom at night, too. The Bhagavatas Sharadiya-Rasa narrations also confirm this. 42-43 Krishna sings: The moon is rajani ramana (the nights lover). He protects the lilies, destroys ths pride of the gopis and illumines the sky to please eveyone . The gopis sing: Krishna is ramani ramana; he enjoys the gopis within the forest kunjas which echo with chirping birds. Thus curbing the pride of Radhas adversaries, he gives pleasure to the entire world. By altering a few syllables of Krishnas poem, the gopis change their meaning to suit their fancy. 44-46 Krishna sings: When the moon rises the lotuses wither, the chakravakis lose their mates and the stars fade. The gopis respond: But Krishna Chandra relieves the lovely-eyed Vraja kishoris viraha distress, destroys the demons, and increases the worlds bliss. Thus Kishorashekhar sings while wandering through the pleasure-filled forest, delighting both the latas and his smita-mukhi* gopa kishoris by playfully pinching them. But as a swarm of buzing honeybees follow, everyone follow, everyone arrives at vamshivata to sit upon its vedi. 1. Praheli-vinoda Khanda Although Sri Rupa Goswami's sutra mentions prahelis (riddles), Govinda-lIlAmRta hasnt included them. So while everyone rests at Vamshivata, this is a good time to present some of KRSNabhAvanAmRtas prahelis. Krishna offers the first riddle: svabhAvato nije acetana jei jana caitanya labhiyA kore jagata mohan nava-dvAra deha, kintu deva nara noy

bolo dekhi ei rpa lakSaNa kAra hoy? Although lifeless by nature, who awakens to enchant the entire universe? And who, despite having nine passages, is neither human nor devata? Radhika answers, satata jAhAre tuni nijAdharAmRta dAna koro je tomAra kuTinI nizcita tomAra se priyA ei lakSaNe anvitA vaMzikA nAmete jei jagate vidita Being very dear to you, this kutini (corrupt woman) always received your adharamritathus she is world-renowned as your priya vamshi. Then Radha composes her own praheli : gAite tomAra kebA guNa yazAvali murcchA lAbha kore hoye ati kutuhalI bolo dekhi nAtha sei ke anurAgiNI atizaya suzobhita jAra guNa-zreNI grAmete vasati kore tabu atizaya atanu rasete paravINa sei hoy Oh Prananath! Who is that anuragini ramani who faints while singing your glories, who is graced by many qualities, who resides in our village and who is famous for her skill in Ananga rasa? Radhas riddle is amazing for its multi-meanings. The word murcchana means to faint, but it also refers to the fading of a melody, and atanu is a name of Cupid, who has no bodybut here it refers to a songs imperceptible feature. So the poems outward appearance draws Krishnas attention to strike his fancy; yet the real answer isnt erotic as it first appears. Krishna replies, irzanvita hoye prakatiyA kalavali jinete garava dhore je more murali madhurye amare sukhi kore sei dhani vina nAma tava sama pina tumbi stani O Radhe! That jealous, talented and fortunate one who can even remove my vaimshis pride, whose sweetness makes me happy, and who, like you has plump, gourd-like breasts, certainly must be your vina! The sakhis smile and applaud Krishnas wit, but then Lalitasundari recites her praheli: bAlatve vikhyAta ati vRddha kAra hoy ? baddha mokSa dazA satata labhoy zuddha hoiyA-o nirantara tamo dhAma koho kRSNa se kuTila-ganera ki nAma?

Who is known for being youthful and yet is very old? Who is bound, yet always attains the liberated state? And who, even when clean, are as black as night? Oh Krishna, tell us who are these crooked ones? Krishna answers with a grin : prati karme jAhAdera bandhana vidhAna ratira udgame ami kori mokSa dAna sei vibhakta keza nAme khyati yutagana amara priyara sushobhita sarva kRSNa Althought they are bound in every activity, I personally loosen them during rati keli. Thus Radhas elegant hairs are very dear to meeven though they are divided by a part. Krishna prowess thrills the sakhis, but then Vishakha presents her riddle: ye yogini tattva vistarane supaNDit vishva bhAva nicaye yahara abhijnata vibhuti dharana kori sadA ghure phire ohe priya bola dekhi jano ki tahare Who are great yoginis (matchmakers) expert in revealing the minds secrets, and who know everyones intentions? They dress themselves in black, but always remain cancala. O Priya Krishna who are they? Krishna replies anaGga sukhera siddhi koribare ujjvala atma jJAna labha hoy yara dvare yahara nirdeSa sarva tyaji jai vane stavi ami se yogini priyara locane I praise my Priyas lovely eyes, for they make me renounce everything to meet her in the forest. They are pandits in ujjvala rasa jnana because they perfect my rati sukha. Chitra Devi offers her vicitra praheli next: sadA pavargera yaha susadhana hoy danta zri vigraha zuci- priya atiSaya anurane raJjita ye tAra gunapana varnana koriyA dhanya koraho rasana Who offers mukti, touches the teeth, is red with anuraga, very fond of shringar rasa and has qualities which grace their reciter? Krishna answers,

sudhu ki varniyA sadha mite he tahaya milao se radhadhara mora rasanaya To simply describe them wont be finelet Radha's sweet lips meet with mine! Hearing Krishnas words Radha feigns resentment and starts to leave. But with a smile, Krishna exclaims, Hey Priya! Fearing defeat, dont retreatjust hold on, Im going to outwit you this time, listen: yahara prathama akhare uttama bujhaya dvi varne bekata koraye devataya tina varne hoy tora ati priya kaja cari varne svargera vishesha taru rAja paJcha varne karnAnanda dayaka ghatana bolo dekhi se ki yahe sukhi sakhi jana This objects first syllable means the best the second is known as the devatas, the third is your dearest activity, the fourth is a type of heavenly tree, and the fifth syllable gives pleasure to the ears. So just tell me the answer which will delight your sakhis. Srimati understands that it is her surata ruta (the shriek that she makes during rati keli). Thus frowning her evebrows, she retorts: Youll find the answer with Padmas sakhi (Chandravali)but why dont you answer my praheli first? grihira prarthita ara yubara vaJchita dvi dravyera adyakSare nAma arambhita tAra pore vinaadi vadyera adyakSara rodana jnapaka ucca dhvani tAra pora se ki vastu lukaiyA dushta sakhigana vaJchaye korite sadA yaha asvadana What do the grihasthas pray for? (Answer: Happiness) What do the young men desire? (Answer: rati krida) What is another name for the vina? (Answer: Vadya) What are three half syllables ? (Answer: surata) Which word denotes a loud cry? (Answer: ruta) Hence, the answer to Radhas praheli is the same as Krishnas a ramanis heart piercing shriek during rati keli. So Krishna declares: surata-ruta! But then the sakhis cheeringly exclaim: Oh! Radha has won! Thus with beaming smiles they tell Krishna Oh Ajita! Youve lost because your prahelis answer has slipped from your own mouth! Thus our Rajanandini Radha is the worshipable Jaya-Sri! 47-48 As Krishna and the gopis sit beneath Vamshivata looking towards the beautiful Yamuna, she sees them and becomes joyful. Thus she smiles with her waves and sings with her waterbirds.

As Yamuna receives Krishnas darshan, her senses turn restless. Her waves brush forward to touch Krishnas charana kamala, her red lotuseyes restlessly bob, her nose (the crocodiles) surface and her ears perk (as whirlpools) to hear Krishnas conversation with the gopis. Althought it is described that crocodiles swim in the Yamuna, one need not worry; they behave just like tame pets for everyones pleasure. They are also Krishnas bhaktas. 49-54 Seeing the beauty of the Yamuna and her banks, Krishna yearns to enjoy pulina vihara with the gopis. Thus he gets up from the vedi. When Krsna and the gopis step into the water, Yamunas hand-like waves repeatedly offer lotus flowers to their lotus feet. Thus she offers puja and praise. The swans are intrigued hearing the ruffling clothes and anklebells of the gopisso they glide near to eagerly learn the art of making enchanting sounds. Yamunaji stops her current in Krishnas darshan-ananda, and knowing his intention to cross, she become very shallow. Thus her mainstream is knee deep and her tributaries are only ankle deep. Pulina vihari and his priya sanginis cross one rivulet after another while enjoying the sandbars splendor. The sandbar where the Rasa lila takes place is called Ananga Rangambuja Pulina. It is on the northeastern side of Govindasthali. To go there one crosses many small rivulets of the Yamuna. 5Krishna loves to excite the gopis desires for vilasa. Thus he eagerly smiles, glances, jokes and exchanges sweet words. Then he embraces them, fondles their breasts and kisses them, too. The manjaris observe: Krishna curiously looks at the gopis pretty lips, and says, What are these? Are there kunda flowers blooming between the bandhuli flowers? And who says the Bandhulis are unscented? A kunkum and lotus-fragrance is coming from them; but its making my nose restless! Oh! Lets see if theyre really filled with madhu? Ill test them! Thus Krishna samples the nectar of each gopis lips, saying: Aha! These Bandhulis are filled with madhu...and so are these! But when Rasika-shekhara glances at the Vraja tarunis breasts, he exclaims, Uh, what are these? Are they two mounds of golden sugar naivedya meant for Ananga puja? Then peeking inside the gopis' kanchulis, Krishna exclaims, Oh! Im right! There are krishna tulasis placed over each one! Then he pinches the gopis! Next Krishna says, Hey Sundari! I feel ashamed because Im losing my beauty; Ill bet that Im not so beautiful as you. Hey, just place your limbs beside mine, and lets compare. Oh, your body is more beautiful than mine. Thus Krishna begins fondling the sundari gopa kishoris. 1. Chakra-bhramana Rasa 56-57 Then Shyamasundar and his priya sanginis come to the huge circle named chakra bhramana and step onto its platform. The Rasa chakra rests on a pivot eighteen inches above the ground. And when Radha and Krishna stand in the center, the gopis form three circles surrounding them. This amazing Rasa-mandala rotates in a circle. The gopis stand on three platforms that are each

slightly higher than the former . 58-59 Aho! As Shyama-natavara embraces Rai Rangini amidst the othershe looks like a tamal tree embraced by a golden lata. Then Radha and Krishna request Lalita and others to begin hallishak nritya. Hallishak nritya (hallIzaka-nRtya) is circular dancing performed by women when they place their hands on each others shoulders. In the center, Shyama Nataraja and Rasamani Rai also begin dancing. 60-64 Thus the Rasa chakra rotates like a potters wheel from the touch of everyones skilful dancing steps. Krishnas lata-like arms embrace his ardh-angini Radha as he sings with her. But sometimes he dances between Lalita and Vishakha, or embraces his other sakhi nitambinis while singing and dancing with them. When Krishna and the gopis dance slowly, the Rasa chakra moves slowly; and, as they speed up, its pace moves with the dancing. Then Krishna expands into many murtis and places his arms above each gopis shoulders. So now it appears that many golden lata-entwined tamal trees are dancing together! Krishna moves swiftly like a twirling firebrand. Thus each gopi thinks, Oh! Krishna hasnt gone elsewherehes right here beside me! When a burning stick is twirled in the air it appears like a fire circle called an alata chakra. As Natendra* swiftly dances, his dazzling pitambara dhoti and chador frantically twirl, making him appear stationary even though he is continually shifting . 65 Aho! Rasa Vihari directs the gopis three circles into one. Then he dances beside each Vraja kishori along the edge of the speeding Rasa chakra ! Removing their hands from each others shoulders. Krishna and the gopis now begin dancing with freely flowing movements while showing different hand poses. 66-67 Then Krishna performs another wonder: As the Rasa chakra swiftly rotates, he steps off onto the ground and then joins back againall while dancing in harmony with the Vraja nitambinis! Sometimes Krishna does this in one murti and sometimes in many. Seeing Krishnas adbhuta shakti the gopis also show their skill. Just like Krishna they dance off the twirling stage and then dance back on againsometimes alone, and sometimes together! 1. Maha Rasa 68-69 Thus Rasika Murari enjoys chakra bhramana rasa vilasa with his priya sanginis. But as the desire awakens to enjoys a more special Rasa lila, he gets down from the chakra and goes Yamunas bank knows as Anangollasa ranga. This site is purified by the Yamunas soft wave-like hands, scented by

the lilies and sprinkled by the fine white moonrays; thus it is ideal for Maha Rasa. Madanollasa Ranga is Cupids sporting grounds Where he derives great pleasure. This sandbar is in Govinda Sthalis north earstern sector. 70-76 The smiling moon-faced Vraja lalanas hold hands and form a circle surrounding Radha Shyamjust as the galaxy surrounds the full moon and the Vishakha star. Aho! As Krishna and the gopis begin dancing, the Rasa mandal turns into a golden potters wheel of gaurangi gopa kishoris. Thus the potter Kandarpa molds his rasa kumbha from the enchanting blue sapphire pistol named Krishna. But the Rasa lila is like a vilasa sagara for the Kandarpa fisherman, so to catch the Krishna fish he spreads his golden net of Vraja sundaris who possess the attractive bait of their pumpkin-like breasts! Seeing his preyasis holding hands, Krishna expands into as many forms to accompany each one, then placing his arms on their shoulders, he dances with them, displaying fascinating poses. If many streaks of lightning could steadily rest within a myriad of whirling clouds, still they could not match the beauty of Krishnas many murtis dancing with the Vraja sundaris. Sometimes owing to his swiftness, Krishna appears like a firebrandthen each gopi considers: Oh, Krishna is remaining by my side to show special favor to me! The sweet sound of Krishnas flute, the gopis singing, jingling bangles, waistbells, anklebells and foot rhythms all pervade the universe! Sri Vrindavans Rasa mandal is the origin of all sangita rasa, and in the upcoming shlokas we can begin to fathom how vast and intricate are the Vraja sundaris talents . 77 The gopis sing both baddha and anibaddha songs. Amongst the baddha there are seven notes: sa ri ga ma pa dha ni which they each sing indivdually. Sometimes a gopi sings a solo, and sometimes they sing in harmony. They sing nibaddha songs (free style). The next eleven shlokas give some examples of the nibaddha singing. In his commentary, Sri Vrindavan Chakravarti quotes the text Sangita-darpana to explain the folling: From the fire and the air below the stomach the asphuta nada (imperceptible sounds) originate. When they join with the chest-airs to become perceptible, they are called mandra nada, when they rise to the throat they are called madhyama nada and if they reach to the head they are called tara nada. Yet when these three types of nadas (sounds) join ones vocal capacity in singing, they are called svaras (melodies). These svaras are governed by twenty-two devis who are called Shrutis. According to the shrutis the different svaras have originated. Svaras belong to seven classifications: shadja (SaDja), rishabha (RSabha), gandhara (gAndhAra), madhyama (madhyama), panchama (paGcama), dhaivata (dhaivata), and nishada (niSAda).

1) When the svara touches the chest, throat, nose, tongue, teeth and the palate it is called sadja. 2) The risabha svara begins from the base of the navel and extends up through the chest. 3) The gandhara svara starts from the navel, travels through the throat, and extends up through the ears. 4) The madhyama svara centers in the chest; it is grave and deep. 5) The panchama svara mixes with the five life airs. 6) The dhaivata svara begins from the stomach, reaches lower and returns to resound from the throat. 7) The nishada svara is a mixture of the others. The seven svaras are exemplified by the sounds of the peacock (shadja), the chataka (rishabha), the goat (gandhara), the krauncha or koncha crane (panchama), the frog (dhaivata), and the elephant (nishada). The abbreviated names for these seven svaras aresa, ri, ga, ma, pa, da and ni. 78 The gopis blissfully sing two types of songsshuddha (unchanged) and vikrita (changed). Amongst the shuddha there are seven types and amongst the vikrita there are eleven. The seven shuddha svaras were mentioned above, i.e. shadji, rishabhi, gandhari, madhyami, pancami, dhaivati and nishadi. So when sung unchanged, they are called shuddha, but if they are mixed with each other they become vikrita svaras. The eleven major vikrita svaras are: shadja kashiki, shadja madhyami, shadja gandhari, shadja pancama, shadja cabati, gandharodicara, karmavari, nandayanti, madhyamodiccara, rakta gandhari and madhyama kaishiki. Besides these orginal ones there are countless other vikrita svaras. 79 There are three types of grama (scale)the shadja the madhyama and the gandhara. The gopis sing mostly in the gandhara scale which is impossible for humans. The shadja grama is sung from the heart, the madhyama from the throat and the gandhara from the head. The gandhara scale can omly be sung by the devatas, but the gopis singing even astonishes the heavenly devis. 80 Then the gopis sing the twenty-two shrutis (marginal notes that are derived form the seven svaras), the forty-nine tanas (key notes) and twenty-one types of murcchana (fading notes). Due to having numerous defects, humans can not purely divide the shrutis which are the imperceptible marginal notes in a song. However, to some extent they can be sung using a vina. 1) The sadja svara shrutis are Tivra, Kumudavati, Manda and Chandavati. (According to others, Nandi, Vishala, Sumukhi and Vicitra). 2) The rishabha shrutis are Dayavati, Ranjani and Ratika (or, Chitra, Ghana and Kandalika). 3) The gandhara svara shrutis are Rautri and Krodha (or, Saragha and Mala). 4) The madhyama svara shrutis are Vrajjika, Prasarini, Priti and Marjani (others say, Magadhi, Shira, Matangika and Maitreyi). 5) The panchama svara shrutis are Kshiti, Rakta, Sandipini and Avahina (some say: Bala, Kala,

Kalarava and Sangaravi.) 6) The dhaivata svara shrutis are Mahanti, Rohini and Rama (yet some say: Yatu, Rama and Amrita.) 7) The nishada svara shrutis are Ugra and Kshobhini (or Vijaya and Madhukari). It is noteworthy that the shrutis are not only the marginal notes on the musical scale, but also the angelic devis who personify these notes. Hence when a virtuous singer is able to sing them perfectly, these devis can even appear in person. When a svara fades into a raga (such as mallara, vasanta etc.) it is called a murcchana. In all three gramas (scales) there are seven each. The names of the twenty-one types of murcchana are: Lalita, Madhyama, Chitra, Rohini, Matangaja, Sauvira, Varna-madhya, Shadja-madhya, Panchami, Matsari, Mridu-madhya, Shuddhanta, Kalavati, Tivra, Raudri, Brahmi, Khecari, Nadavati, Vishala Ketumbari and Madhullasa. 81 Krishna and the gopis sing fifteen types of gamaka (trills) accompanied with wonderful beats that enchant the mind. The sensational art of making a melody pulsate is called gamaka. There are fifteen different gamaka styles which are called: Tiripa, Sphurita, Kampita, Nila, Andolita, Bali, tribhinna, Kuvala, Ahata, Unnamita, Plavita, Hankrita, Mudrita, Namita and Mishrita. 82 They sing two kinds of nibaddha songs, namely shuddha and salaga. The shuddha nibaddha songs are of three types: prabandha, vastu and rupaka. Nibaddha songs follow a prescribed pattern having two basic parts, dhatu and anga. Dhatu comprises the songs with rhyming meter. There are four parts. The first line is udgrahaka, the second line is called melapaka, the line that is repeatedly sung is called dhruva pada (usually the first line) and the last line that includes the padakartas (song writers) name is called abhoga (but the lines that are between the beginning and the end are called antarapada). Anga are the six limbs of a song such as svara (the melody), viruda (the meaningful wods), pada (the general wods), tenaka(the meaningless words) and patha (the variegated sounds such as dangdangdidang etc.) Songs that are comprised form these parts are called nibaddha sangita. The three types of nibaddha songs are: 1) prabandhusongs that have all of the above mentioned dhatus and angas. 2) vastusongs that have the first three parts of the anga. 3) rupakasongs having the first two dhatus and the first two angas. There are five classifications of prabandha: 1) Those having all six angas are called medini, 2) Those having five arr called nandini. 3) Those having four are called dipani, 4) Those with three are called pavani, 5) Those with two are called taravali.

Salaga nibaddha songa are also called rasalaga and chayalaga because they are the shadow of shuddha nibaddha sangita. When salaga songs are accompanied by many types of instruments it becomes shurasalaga music. This includes nine types of tala, which are adi, yati, nasaru, ajna, triputa, rupaka, jhampaka, matha and ekatali. 83 Thus Vrajasundar and the Vraja sundaris sing prabandhas (complete songs), having many different types of svaras (melodies), patha (varirgated sounds), ragas, grahas (beginning melodies) and nyas (concluding melodies). The special notes that are sung at a songs beginning are called grahasvaras, and the concluding notes are called nyasa. As Krishna become pleased with the gopis singing, he praises them, smiles at them and offers various types of rewards to increase their paramananda. 84 Krishna and the gopis sing three types of ragas: sampurna (having seven svaras ), shadava (having six svaras) and audava (having five svaras). Some of the sampurna ragas are: shri nata, karnata, megha mallara, dravida, gaudi varati, gujjari, todi, malavashri, saindhavi, sincuda devaki, ramakiri, manjari and belavali. Some of the shadava ragas are gauda, karnata, dhanasi, desi kolahala, ballali, ashavari, khambavati, harshapuri, mallari and humcika. Some audava ragas are: shrikantha, bhauli, gauri, shuddhakiri, madhukari, chaya and nilotpala. 85-87 They sing ragas such as: Mallara, Nata, Sama, Kedara, Kamoda, Bhairava, gandhara, Deshaga, Vasanta, Karnataka, Malava, Sri, Gujjari, ramakiri, Gauri, Ashavari, Gondakiri, todi, Belavali, Mangala, Varatika, Deshavaratika, Magadhi, Kaushiki, Pali, Lalita, Patha manjari, subhaga and Sindhu. The svaras (melodies) which can enchant the three worlds are called ragas and raginis. In the Rasa lila there are more than sixteen thousand varities that Krishna and the gopis sing. In these verses only a few are mentioned. However, in various provinces these ragas and raginis may be known by different names. But basically, there are six major ragas and thirtysix major raginis. The ragas are male and the raginis are female. The six major ragas each have six wives that are listed below : 1) Vasanta raga: a) Gujjari, b) Vibhasha, c) Todi, d) Panchami, e) Lalita, and f) Patha Manjari. 2) Malaya raga: a) Dhanasi, b) Manasi, c) Ramakeri, d) Sindhura, e) Ashavari, and f) Bhairavi. 3) Sri Raga: a) Belapari, b) Gauri, c) Gandhari, d) Subhaga, e) Komari, and f) Vairati. 4) Mallara raga: a) Belavali, b) Pravara, c) Kanadi, d) Madhavi, e) Kodi, and f) Kedarika. 5) Hindola raga: a) Mayuri, b) Dipika, c) Deshakari, d) Pahadi, e) Varadi, and f) Marahatta. 6) Karnata raga: a) Natika, b) Bhupali, c) Ramakiri, d) Gada, e) Kamodi, and e) Kalyani. When these ragas and raginis mix with the other uncountable ragas and raginis an infinite variety arises. The sukanthini Vraja sundaris sing these with smiling faces and roaming eyes while showing many different hand mudras. Then Krishna embraces them, kisses them, and transfers his pan into

their mouths to increase their pleasure. 88-90 The gopis play four classifications of instruments given by Vrinda: ghana (ringing) tata (stringed) anaddha (skinned) and shushira (those who are blown). Such instruments include the Muraja, Damaru, Dampha, Mandu, Mamaka, murali, Pavika, vamshi, mandir, Karatala, Vipanchi, vina, Kachapi, Kari-nasika, Svara-mandalika and Rudra vina.

1) The tata (stringed) instruments are as follows: vina, Sitara, violin, Alavani, Brahma vina, kinnari, Laghu Kinnari, Kacchapi, Vipanchi, Ballaki, Jyeshtha, Chitra, Ghashavati, Jaya, Hastika, Kubjika, Kurma, Sarangi, Parivadini, trisari, Shatatantri, Nakulaushtha, Kamsari, Audambari, Pinaki, Nibaddha, Pushkala, Gada, Rudra vina and the Svara mandala. 2) The anaddha (skinned) instruments include: The Mridanga, tabla, Dolaka, Madala, Muraja, Dakka, Pataha, Cangava, Panava, Kundali, Bheri, Ghatavadya, Barjhara, Damaru, Shthamaki, Sandu, Hadukka, Maddu, Dingima, Upanga and Dardura. 3) The shusira instruments (those which are blown) include : The vamshi, Pavika, Madhuri, tittira, Shankha, Kohala, Bhodai, murali, Bukka, Sringika, Svara-nabhi, Sringalapika and Crama-vamsha. 4) The ghana instruments (ringing instruments) include kartal, kamsa, jaya ghanta, Suktika, Kampaka, Ghata-vadya, Ghantatodya, Gharaghara, Jhanjatala, Manjira, Karttu and Jangura. Thus Vrinda brings all of these instruments and gives them to the sakhis. Then Krishna plays his variors flutes, Radha plays her Alavani vina and Lalita, Vishakha and others take up the Kacchapi, Vipanchi and Rudra vina, etc. And as they play together an indescribably wonderful concert fills the entire universe. 91-92 When they dance the Vraja-nitambinis show different hand mudras such as a flag, a triple banner, a swans head, a betelnut clipper, a parrots head, a deers head, a shadamsha, a katari mukha, a needle- pin, a halfmoon, a lotusbud, a snakehood and other forms. As the gopis skillfully dance ti the musics beat, sing and show various bodily posestheir hand postures also tell a story. The art of showing different hand mudras is called hastaka ; there are basically three types: asamyuta, samyuta and nartita. When only one hand is used to act out a drama, it is called asamyuta.When two hands are used it is called samyuta. Hand mudras that flow along with the dancing without showing any particular images are called nartita. The following list shows how some of the asamyuta and samyuta mudras are formed: 1) Pataka (the flag): The thumb is bent against the index finger, and all of the other fingers are held straight together. 2) Tripataka (three banners): The tips of the thumb and the small finger rest together, and the remaining three fingers are held straigh together. 3) Hamsa mastaka (swans head): The tips of the index finger, middle finger and thumb are held together. 4) Kartari Mukha (betelnut clipper): The tips of the small finger, ring-finger and thumb are held together, but the middle finger and index finger held straight. 5) shuka tundaka (parrots head): When the index finger, ring finger and the thumb all join together.

6) Mrgashirsaka (deers head): The thumb, middle finger and ring finger held together, and the small finger and the index finger are held straight. 7) Sadamsha: The tips of the index finger and the thumb join together in a curve, and the other fingers are held straight and separate. Suci Mukha (pinhead): When the tips of all the finger join together . 9) Khataka Mukha (suspicious face): Both hands are raised beside the face, the tips of both thumbs and both index fingers join together, the ring finger and small finger are held straight and separate. 10) Ardha chandra (half moon): When the thumb is directed the other way. 11) Padma Kosa (lotus bud): When all of the fingers join together at the tips. There are countless other hastakas (hand mudras) mentioned in sangita shastra; the following list mentions a few of them: The dadimba (pomegranate), mushti (fist), pallava (leaf), catura (courtyard), hamsa paksha (swan wings), bhramara (beet), mukula (bud), kukkuta (rooster), simha mukha (lion head), kadamba (globular flower), nikunja (grove), pushpanjali (bouquest), dola (swing), makara (dolphin-like seamonsters) and gaja danta (elephants tusk), etc. The gopis show all of these. 93 The Vraja sundaris play many types of talas (beats), such as dhruva, mantha and vilakshana. The dancing and the singing nicely blend together with a rhythmic beat called the tala. There are sixteen types of dhruva tala which twenty-two are measured with fourteen matras (counts). The mantha talas have six kinds of matra, and are twenty-two in number. There are also many vilakshana talas (beats that fall in a reversed order, or that dont follow a systematic order). 94 The talas have three phases: anagata, atita and sama. The gopis use three types of yatis between the beatssama, gopucchika and srotavaha. The rhythmic beat that precedes the singing In a song is called anagata. When the beats follow behind the singing they are called atita, but when the beats match the singing they are called sama tala. Yati means laya (the pause between the beats). Some are short, some are medium and some are long. 95-96 There are three kinds of layashort, medium and long and two kinds of dharanawith sound and without sound. The gopis use two types of mana (pause) in their music, vardhamana and hiyamana. The subtle pauses between the change of one tala (beat) to the next are called mana. Vardhamana means increased (loud) and hiyamana means soft. 97-101 Some of the talas that the gopis use are: cancatpata, cacapata, rupaka, simhasana, gaja lila, ekatala, nihsarimadi, addaka, pratimantha, jhampa (jhamptala), triputa, yati, nalaku vara, nudghatta, kuttaka, kokilarava, upatta, darpana, rajakolahala, shacipriya, ranga-vidyadhara, vadaka, anukulakankana, sri-ranga, kandarpa, ghatpita-putraka, parvati-locana, raja-chudamani, janapriya, rati lila, tribhangi, caccarat and vara vikrama. Krishna and his beloved gopis beat out these rhythms as they

danced. Here Srila Kaviraj Goswami lists only thirty-four different talas. This is just to give an indicationthere are countless talas that Krishna and the gopis use in the Rasa-mandala. 102 As a result of Sri Rupa Goswamis mature seva aroused by drinking the madhu at Sri Chaitanyas lotus feet, the request of Sri Raghunath Das, the association of Sri Jiva and the benediction of Sri Raghunath Bhatta, here ends Govinda-llmtas twenty-second chapter. 1. This chapter has listed some of the dancing and music-skills that the Vraja sundaris use to delight Krishna. Sri Vrindavans Rasa-sthali is the stage for the highest form of music, song and dance exhibition within the material and spiritual worlds, so it is no wonder that the gopis musical talents far exceed those of anyone within Lord Brahmas kingdom. For when Raseshwari Vinodini Rai dances, hundreds of newer and newer ragas and raginis are created at every second by the shruti madhura jingling of her anklebells alone! And speaking of her dancingas Rai Nitambinis enchanting from exhibits its dancing prowesseven Madana Mohan faints from the high bellowing pleasure waves within his ananda sindhu! Rasa lila is the mukuta mani. Perhaps this is why Sri Vishwanath Chakravartipada states that the Rasa Pancadhyaya (five chapters concerning the Rasa lila) are the Bhagavatas panca prana (five life airs). Amongst many other versions, KRSNa-bhAvanAmRtas Rasa lila stands apart as unique, ans in the last description from it Radha had mistaken Krishna for a tamal tree which led into a thrilling Yugala Milana. And after rati keli, Radharani requested Krishna to meet with her sakhis too. Meanwhile, Radha was re-dressed by the manjaris to appear like a vasaka sajjika nayika. Thus when the sakhis returned, she pretended that Krishna hadnt come and she teased them upon seeing their marks of rati. But now rasamaya Shyamasundar comes into the sakhis assembly, and exclaims, Hey alis! Just hear about Radhas unusual behavior! Today she boldly approached me saying: Hey Priyatama! Just embrace me and kiss my lips to your full satisfaction! Please revive my hearts fire of kama! Oh, I was astonished to hear such forward words spoken by Vama-Radhika! But then She threw her patience and shyness to the Yamuna and tightly embraced me! She even pulled me on to the bed of flowers, devastated me in Kandarpas battle and then left the kunja! Thus Ive come to take your shelter. Hearing Krishnas words, Radha is lampooned....and pulls her orana over her face to cover it. But Lalita cant believe it and scoffs. Hey Krishna! You must be lying! Krishna: Hay Lalite! I swear, Im telling the truth! Just ask your priya sakhi! Lalita: Radhe! Is this true ? Radha: I cant remember what I said to the enchanting tamal tree. (Radhas answer brings a soft, sweet smile to the sakhis lotus-faces). But then Krishna goes on: Hey sakhis! Radhas solitary request for surata keli isnt so astonishing, but during Sharadiya Rasa amongst thousands of Vraja ramanis she once told me: Hey Krishna! Just satiate me with your adharamrita (nectar-kisses)!Oh, lll never foget those words of

Radhas! Then Radharani answers, Hey Krishna! I became dazed thenand the cause was your seducing vamshi. So if I had the vamshi Id make the world go mad, too! Hey Ramani-Mohana! Ill bet that I could mesmerize Lalita, the other sakhis and even you by playing your vamshi. Hearing Radhas assertion, Krishna replies, So here, take it. ,placing the vamshi in Radhas hand. Then he leaves with the sakhis to begin an amusing, new pastime. But Radha thinks, Except for Vraja Raja Kumara, who else can play the vamshi? Thus she starts rubbing black deer musk over her body to become shyamangi. (Radha ties her hair in a chura and places a peacock feather above it. She even puts on a pitambara dhoti, tying it in attractive folds. Then standing in a lalita tribhanga stance, Radha places the vamshi to her lips and begins playing. And what an amusing thing happens! When Madana Mohans mohini becomes Madana Mohan then even Madana Mohan cannot contain himself! He loses his purushabhimana* and becomes like a sundari ramani! Thus Krishna covers his entire body with kunkum to become Gaurangi. Then he puts on Radhas ornaments, dress, tilakand like a Krishna-mad gopa kishori he joins Lalita and the other sakhis who are now scurrying to see Vamshi Vadana Radha! But just as in Krishnas Sharadiya Rasa, upon meeting them, Krishna-clad Radha dissuades the gopis: Oh chaste gopis! Your fame and beauty is coveted throughout the three worldsbut why have you suddenly come here? And why are you wandering in this dark forest? Are you hoping to received the love of some sundar purusha? Oh well, listen, oh slender ones! You should have thought twice before coming here, so why dont you all return back home now? Isnt it the duty of a chaste wife to faithfully serve her husband? And havent you come here just to gratify your kama? So if that is the case, you can satisfy that urge with your husbands at home. Then just as in the Sharadiya Rasa when the gopis become perplexed, shed tears, and mark the ground with their restless toenails upon hearing Krishnas neglectful words Krishna, Lalita and the other gopis behave in the same way and answer: Oh Vibho(unlimited One)! Are such cruel words befitting you? Hey prema sindho! Were burning in the fire of Madanas kama! And thus weve come here to seek relief by seeing your cooling moon-like face. Our creeper of desire has been nurtured for many days by the soothing nectar-tune of your madhura vamshi. Oh please, dont be cuel by sending us away. So, as in the Sharadiya Rasa, Krishna-clad Radha smiles to remove Radha-clad Krishnas distress and becomes the ramana! But during rati keli Krishna acts exactly like Radha to astonish Vrinda and the others! And seeing Krishna behaving just like vama Radha, and Radha behaving like a ramani lampata nagara, the sakhis lose themselves within an ocean of wonder! But aho! Krishnaclad Radha comes to embrace and kiss them too! And seeing this, ecstatic tears pour from Vrindas eyes as the deems her life a success! But as in the Sharadiya RasaKrishnaclad Radha suddenly disappears with Radhaclad Krishna, and when they experiencing their demise, the panged sakhis begin searching for them. They even question the forest trees and latas...but at last, when arriving at a secluded nikunja mandir, they peek through the foliage and discover Radha and Krishna enjoying rati keli! At the kelis aftermath, Krishna-clad Radha takes Radha clad Krishna by the hand and comes out to enjoy vana vihara. And as they wander through the forest, Krishna-clad Radha picks flowers and makes ornaments to decorate Radha clad Krishna.

After a while, Radha clad Krishna tells Krishna-clad Radha: Oh Priye! Im feeling tired now, so please pick me up and carry me wherever you like. But then Krishna-clad Radha disappears! Thus Radha clad Madhava begin to lament and wet the ground with her tears. And later, Lalita and the others arrive to give solace. They also shed tears as they join Radha clad Madhava to sing Krishnas guna kirtan. Hey Priyatama! Please come back and make us happy. When we hold your charana kamala upon our hard breasts, we gently do so as to spare you pain. But now we are lamenting because surely the forests pebbles and sharp grass are piercing you as you wander around! As Radha clad Madhava sings these songs with the gopis, suddenly Govinda-clad Radha appears in brilliant pitambara attire, bhuvana mohana shyama anga kanti and a sweet smile! Thus seeing Radha Krishna together one might guess: Has Krishna transferred his beautiful shyama-effulgence to Radha after accepting her golden bodily complexion? And similarly, did Krishnas pitambara become friends with Radhas nilambari (through an exchange? But meanwhile, one gopi takes hold of Hari-clad Radhas hand, another holds his feet, and another places her horripilating hand on his shoulder. Then as Radha clad Hari raises her eyebrows to scorn them, her intriguing mood completely stupefies them! And Krishna-clad Radha even sheds tears! But then Vrinda arrives and says, Hey Radha! How glorious youve become, thinking that youve the kanta (Krishna). And hey Krishna! Hasnt Jaya-Lakshmi herself embraced you after accepting Radhas durgama bhava(? But whats the need to go on playing like this? Hey Vrishabhanu Kumari! Just place the murali back in Krishnas hands! Radha complies, but when he receives it, Krishna is astonished! You mean that Im not Radhika? he says. When Radha accepts Krishnas bhava, and Krishna accepts Radhas bhava, this is called their paraspara svabhava-adhya lila. Then their natures and behavior completely interchange. Some other examples are seen in Radha Krishnas first madhyahna lila in KRSNa-bhAvanAmRta and KRSNAhnika-kaumudIs madhu pana lila. Yet moreover, Sri Chaitanya himself performs many pastimes in the paraspara svabhava-adhya fashion in Radha bhava. 1. For those wishing to make an in-depth study of the Rasa there are countless other Mahajana padavali selections. Moreover, the Rasa narrations found in Sri Kavi Karnapurs AnandavRndAvana-campU, Sri Jiva Goswamis GopAla-campU and Sri Prabodhananda Saraswatis Acarya-rAsa-prabandha along with the Bhagavatas RAsa-pancAdhyAya commentaries of Sridhara Swami, Sanatan Goswami and Vishwanath Chakravarti are all well worth investigating. Yet there is an important consideration for those who want to ideally meditate on the Rasa. Sri Gopala Guru and Dhyanachandra Goswami advise in their Paddhatis: eteSu samayeSv evam yA yA lIlA puroditA tAM tAm eva yathA kAlam saMsmaret sAdhako janaH The sadhaka should perform smaran of each lila during the time that it unfolds. (GauragovindArcana-paddhati, 171) Hence, the Rasa lilas meditaion should go on between 12.00 and 2.00 a.m., when most people are

asleep. And this brings to mind Krishnas statement in Gita 2.69, The sleeping time for all being is the time of awakening for the self-controlled bhakta. So those wanting to meditate on Rasa lila must practise jagaran, or vigil. In the nights wee hours, when the worlds busy pace stops and everyone is sound asleep, then the ether becomes pure and peaceful. Thus by natures arrangement, these are the ideal moments to focus on Sri Krishnas lila mukuta mani, the Rasa. 1. Chapter Twenty-Three Nisha Lila 10:48 p.m.3:36 a.m. Rasa Lila, Madhu-pana, Rati-keli, Jala-vihara, Shringara, Nisha-bhojan, Shayana and the Sakhis Seva. 1 Thereafter, Krishna dance with the most rasika Vraja devis following the beat of numerous talas and prabandha singing. Prabandha singing generally means the songs accompanied with all of the limbs and the ingredients of nibaddha-sangita, the system which follows musics rules. However, the prabandhas mentioned here mean the art where Krishna and the gopis enthusiastically recite bolas, the syllables of the beat, as they dance them out upon the stage. Verse 6 to 16 will show some examples. Krishna-bhavanamrita states that when Rasa-rasika vara Gokula-yuvaraj dances with the gopis, the personified devata of each musical instrument appears to resound melodiously. Then the personified devas and devis of the different ragas, raginis, svaras, murcchanas, shrutis, gramas, hastakas and talas also advent to add splendor to the Rasa concert! 2 As Krishna dances with Radhika, Lalitas group sings and Chitras group plays instruments to keep the tala rocking. Thus Vrinda and the others watch in fascination! When Natendra-shekhara and Natni mani Rai dance a palla (duet), Lalita and her group supply an ananda taranga by singing and dancing with superb anga bhangis! Here is a sample: ki nava purnima niza, yamuna pulina jhalakata rasa zazi ujoraiyA diSa rAi kAnu ki madhura cAnda, nAce dohe aGge aGga helaiya bhuja aropiyA kandhe tile tile kautuka citta, dohe baya vaSi mishaya mukha nAhiko upama dite caru nayane diya, adhare adhara parazaiya rasa aveshe ullasa hiyA vama dakSina yugala kore, prakashaye koto bhati abhinaya kamera dhairaja hare What a lovely purnima rajani! The Yamunas banks and the Rasa-mandala are glistening in the

moonrays! Aha! What a madhura matchRai and Kanu clasp each other, dancing arm in arm! And at every moment newer wonder unfoldstheyre dancing cheek-to-cheek, and play the madhura vamshi! How incomparable! But now, eye-to-eyethey kiss each other in the Rasas ecstasy! Aha! Isnt Kamadeva fainting as Sri Yugala Kishor holds hands and displays such amazing drama? 3 Sometimes Krishna dances alone, then Radha and the sakhis sing and play along. But when Rasamani Rai dances an amazing solo, Krishna relishes it in wonder! Sri Gandharvika watches Natendras* dancing and sings: nacaye rasika zyAma raya, dekhi kena nayana judaya ki madhura chade mridu haseyuvati dharaja dharma nashe dolaye kuNDala shruti mule, gandera chataya kena bhule koto na koroye abhinaya, yahate madana parAjaya cacala dighala aGkhi kone ki rasa dhalaye keba jane charana kamala tAla dhare, nUpurera rabe prANa hare ta thai ta thai thaiyA thaiya, kohe ki bhaGgite raiyA raiya drimi drimi madala bajaya, narahari prANa nacaya Watching Rasika Shyama Rasa dance satiates my eyes! Aha! His madhura steps and sweet smile destroy all of the yuvatis patience! His tossing earring cast dazzling reflections on his cheeks to steal my mind and his wonderful poses defeat Cupid; who knows what nectar pours from those restless sidelong glances? His charana kamala dance with the talabut their madhurs nupura dhvani steals my heart! They resoundta-thai, ta-thai, thaiya thaya, raiya raiya The mridangas play drimi drimi drimi while Naraharis prana dances too! Then, as Radharani dances, Krishna ecstatically watches as the sakhis sing: nAce rAi ramani maNi, caraNa nUpura bAje, katite kiGkini phani jini veni pithe dole, grivara bhaGgima kiba, rasera hillole ki madhura abhinaya kore, ta-thaiyA ta-thaiyA thaiya, kohi tAla dhore vadana cAndera mada nashi, boriye hasite, ki amiyara rase aGkhi abhinaya koto chande, mataya madana bhupa, varaja chande narahari ki dibo upama, jagate koriche alo, aGgera sushama As ramani-mani Rai dancesher nupuras and kinkinis jingle! Her veni rises from her back like a hooded snake, and her neck rolls within the waves of rasa! What a wonderful drama! And while dancing, Radha recites the talas ta-thaiya, ta-thaiya, ta-thaiya-ta! Her moon-face outmaches madhus maudlin effectand her smile is nectar. But then her playful glance puts Vraja Chand under Madanas spell! Narahari says, What can compare with Radha? Her bodily effulgence lights up the whole world! (These padas are from Bhakti-ratnAkara.) 4-5 The gopis singing and playing instruments sit on the Rasa-mandalas edge-like a curtain surrouding the dancers. Although the stringed instruments, brass instruments, flutes and drums all play together, their combined music nicely harmonize with Krishna and the Vraja nitambinis dance-steps. Then

one after the other, each gopi displays her dancing skill with amazing footsteps, brow movements, hand mudras and eye gestures! The leading gopis are noted for playing these instruments: 1) Radha, the Alavani-vina 2) Lalita, the Brahma-vina 3) Vishakha, the Kacchapi-vina 4) Chitra, the Rudra-vina 5) Champakalata, the Vipanchi-vina 6) Rangadevi, the Kavilanga-vina 7) Sudevi, the Sarangi-vina 8 ) Tungavidya, the Kinnari-vina 9) Indulekha, the Svara-mandala-vina. The other sakhis play the madala, mridanga, pakoaja, muraja and many other instruments. 1. 6 Natendra-shekhara repeatedly dashes from the gopis midst to the center stage! And with his intricate steps and flowing hand movements he excites them by abruptly exclaiming: tah tatta tathaidrig ati driga thai drikatathai drkatathai tha! 7 But Krishna-sundar goes on dancingand boldly recites the prabandha: tho, dik, dam dam kita kita kanajhomthokku tho dikku arie jom! dram jhom dram, kiti, kiti, kiti dhamjhonku jhom jhenkujom jom ! tho dikdam dam drimi drimi drimi dhamkanku jhom jhomkanku jom! 8 Then like a lightning streak within the Krishna cloudRadhikas kankanas, kinkinis* and nupuras* enchantingly jingle as she rotates her arms to boldly exclaim: tatha-thai, tatha-thai, tatha-tha! While dancing out the bolas with her swift foot-movements. 9 As Radhas dancing goes on, she ecstatically recites: dham dham drika drika cham cham ninam-nam ninam nam ninam tut tuk tum-tum guru guru guru dram dram guru dram guru dram dheka dheka dho dho kiriti kiriti dram driam driam drimi dram! Raseshwari Rais dancing is sarvottama (the best of all). These two shlokas portray her supreme skill as Shyamasundars manoranjana-karini (mindstealing enchantress). As Krishna watches with unblinking eyesRai Rangini boldly leaps into the center-stage like a lightning flash! The bells of her kinkinis, kankanas, nupuras and armlest tinkle Kandarpas messaga up and down Krishnas spine! Her earrings and nose pearl bob as her colorful veni tied with flowers, pearls, ribbons and

tassles sails behind her! Radhas uttariya chador is also sailing....and as she twirls, her gagara (lower garment) rises to display her enticing legs! Thus as the curtain rises, Radhas fascinating nupuras produce a concert of countless, newer and newer ragas and raginis. But seeing Krishnas captivation, Rai Vinodini completely devastates him: she pelts Krishna with a provocative glance and bodly recites the previous prabandhas as her Mohini Murti dances out the bolas! 10-14 Then, swift as lightning, Lalita Sundari leaps to the center that is shyama-colored by Krishnas anga kanti! As the bangles on her lotus-hand resound jhana jhanajhana she smiles and loudly recites: thai thai tho tatigara tigara tho! Thai ta-thai thota thai tha! Next Vishakha takes her turn and dances in harmony with the kana kana kana of the vina, and the Mridangas drimi drimi drimi dho dho dho! Then, while Vishakha shows her dancing expertise, her ornaments make a jhanana jha-jhat sound as she recites the bola: drig iti drig iti drik! Thai tho tatho tho! One gopa sundari dances as her nupuras, kinkinis and bangles sweetly jingle. She excitedly utters: thaiya ta-thaiya ta-thai ta thaiya.? Another sakhi swiftly moves her hands and footsteps to harmonize her tinkling bangles and anklebells. Then she recites the bola: thai thai thai thai thai ta-thai thai! Another gopa ramani comes to the stage displaying talents and boldly utters: thaiya thaiya tatha tatha thaiya thaiya thaiyatigara ta-thaiya! Krishna-bhavanamrita adds: Seeing the Vraja sundaris fantastic dancing, one might consider, Oh, after Kandarpa churned the saundarya amrita sagara (ocean of beautiful divine nectar)are these the Lakshmis that surfaced? And have they advented on the Rasa-mandala to display their supreme skill to the world? But seeing Krishnas many murtis dancing between each gopi one might guess: Oh, heres Kandarpas japa mala! But what is it made of? Could it be the lightning amongst the clouds? Or is it indranila mani with gold? Or perhaps its fashioned with champak flowers and blue lotus? Oh, now I see, this sweet mala is molded from kunkum and deer musk! But then the Rasa-mandala turns into a rati mandalafor as the gopis performs the drama of showing moons, lotuses and other objects with their flowing hand-movements, Krishna takes advantage to touch their bodies, fondle their breasts and kiss them between each dancing step! 1. 15 While enjoying the gopa kishoris dancing, Krishna joyfully sings: aa ia tia, ati ai a tiaa, a a a!Hey Radhe! Just see! The moonlit Yamunas bank is dancing with us: a a a, ati a a!And Priye! The forest is dancing with its Malayan breezes! a a a ati ihai! Thus singing, Krishna begins dancing also. Nikhila kala guru Sri Krishna sings a tenaka while mixing his vidagdha skills in gamaka, pada and svara. In Krishna-bhavanamrita he praises Radharani as following:

hey sundari, tava mukha lavanya abhasa yathaya driganta-gana koraye vilAsa tAhAte asama shobha kama kala gana labhiyA mohilo mama anuragi mana Hey Sundari! Your face is an abode of radiant beauty, and a playground for your roaming eyes, but therein, all of the kama keli arts display incomparable wonder to enchant my enthralled mind! 16 Rai Vinodini dances and sings: Oh hey Priya! Your smile is effulgent like the moon, softer than the kunda flowers, more playful than the swan, tastier than kshira, and glossier than a pearl necklaceai, aai, aare are ai aai a! To answer Krishna, Sudhamukhi Rai sings this poem while displaying her manohara nritya. Then combining sura, tala, mana and laya she concludes with a tenaka. 17 Though they appear like dull objects, the mohana mridangas are actually great panditsfor they resound ta-dik, ta-dik, ta-dik to spite the heavenly devis dancing, which is uncomparible to the Vraja sundaris skill. ta-dik is a mridanga bola but it also menas shame on them. Being the greatest sangita acharyas, Radha Thakurani and the other Vraja sundaris display a unique standard of ragas and raginis, talas, manas, murchanas, shrutis and gamakas. Hence the Rasa ranga-sthali is the most amazing stage for music within the three worlds! So as Uuvasi, Menaka, Rambha, Tilottama and other leading sangita acharyas of heaven watch the Rasas spectacle form the clouds, the gopis mridangas point at them and resound ta dik ta dik, ta dik! (Shame on them! Shame on them! Shame on them!) to proclaim the Vraja sundaris superiority. 18-20 Then the gopis singing and playing the vinas, the flutes, the mridangas and the other instruments ecstatically get up to join with the dancing. As the Vraja sundaris lose themselves in the Rasas splendor, their nivi bandhanas, kanchulis and braided hairs unfasten. Thus Rasika-mohana swiftly dances near to re-tie them. Using the scale sa ri ga ma pa dani, the su-vidagdha gopa kishoris create newer and newer ragas and raginis,

21 With thousands of voices and with thousands of songs, the Vraja Devis sing shuddha (unchanged) and sankirna (mixed) songs beloning to the marga (heavenly) and deshiya (wordly) category. The marga singing of haven is also called svarga-sangita and Lord Brahma is its acharya, Music used to entertain worldly kings is called deshiya. 22 The gopis brass instruments resound like the monsoons thunder, their sushira instruments (flutes, etc.) produce a fine pin-hole like resonance, their tata (stringed) instruments echo through the skys

breadth and their anaddha instruments (drums) have a deep, rich jewel-like sound. Hence the four instrument classes are named after objects having qualities synonymous with the sound they produce : 1) ghana means a cloudy skyor the percussion instruments. 2) sushira means the a pinor instruments which are blown. 3) tata means the broad skyor the stringed instruments 4) anaddha means a jewalor the drums. 23-27 Moreover, the anklebells, waist-bells, bangles and armlets worn by Krishna and the gopis produce a fifth instruments class as their enchanting ring blends with the dancing. As their dancing goes on, the Vraja sundaris sing with their mouths, enact dramas with their hands, keep the tala moving with their feet, shake their necks and hips, and move their eyes to the right and to the left. Thus with their attention fixed on Krishnas mukharavindathey enjoy great erotic rapture! The gopis effortlessly sing those shrutis, yatis, murcchanas and gamakas that are impossible (for humans) to divide without the help of a vina. One talented gopi blends the undivided shrutis, gamakas and yatis to sing beautiful, and Krishna zealously exclaims, sadhu sadhu! To praise her. But then her frouning eyebrows chastise Krishna.. so he respects her even more! Natni Shiromani Rais Chalikyadancing enthralls Krishna! Thus unable to find a more suitable reward, Krishna dashes to offer himself! (With a firm embrace) Krishna thinks, What more can I give for Rais wonderful performance? III give my very atma! In the Chalikya dance someone dances while balancing over a jug, or while balancing the jug on ones head. 28 Sometimes murali dharas flute-playing inspires Radhikas dancing. But while viewing Radhas hasya madhuri (sweet smile), Krishna slips on the tala; so Radhika quickly makes her ornaments jingle to correct Krishnas blunder as her graceful dance-steps conclude the song. Then Radhika induces Krishna to dance as she plays the vina. A similar pastime is described in Mahajana Padavali. Here is the summary: Once Krishna playfully joked with Radhika, saying: Her priyatama! Look, Ill mark the stage with the picture of a bow. Can you dance over this picture without making your anklebells, nose ring and earrings jingle, and yet following my vamshis quick tala with your footsteps? If you can, then III admit defeat surender to you! Hearing Krishnas challenge, Lalita replies, Why should you only admit defeat? Youll have to hand over your vamshi, too! Krishna smiles and says, Allright, Ill accept the wager, but if Rai fails, then what will I get? Lalita: Since your heart dances as it swings Radhas nose-pearl shall be yours!

Then, while fixing his glance upon Priya-manis facesangita durandhara Shyamasundar plays a frantic tala! Aho! guna agadha Radha keeps the wagers conditions. Not only that, while shaking her hips, waist and neck with her intricate rasamaya dancing poses, she looks Shyamasundar right in the eye with a playful smile! Hence Radhas mukha madhuri, wonderful nritya caturi and flowing mohini murti fascinates Shyama, and his tala slips! But Kalavati Rai is right on top of the situation, she quickly picks up the tala to finish the song with her superb dancing steps! Thus even though he is defeated, Krishna becomes overjoyed such is premas wonderful dharma. Next Lalita proposes: Hey Shyamasundar! As youve made our Raja-nandini dance, now its your turn. Lets see your skill as she plays the vina. But be forewarned, this isnt your sakhas playground, nor does this include the art of stealing the tarunis hearts with stealthy sidelong glance. Rather, heres the assembly where the best sundari ramanis display their dancing talents. So watch outlest youll become a laughing-stock before us! Krishna answers with a smile: Well, if I can dance up to the mark, what will you give me? Lalita looks towards Rai Ranginis face and blushes, saying: Well serve you chandra sudha and mahapadma madhu (meaning Radhas nectar-face along with the sweet honey of her lips)! So Radha begins playing the vina with an incredibly intricate talaand shes backed by her entire sakhi-orchestra! Yet Nata Rajendra Shiromani waits for the right cue and with all eyes upon him, he leaps onto the center stage! Aho! Krishna Chandras nritya kala is camatkara (spectacular)! He expertly bends and curves long with Gandharvikas frantically flowing tala and laya! What a Mohaniya Natuya! Yet Madana mohanas charming talents even stifle Mohini Rais concentration so her hand slips form the strings! But while immediately catching the tala with his fast moving footstepsKrishna finishes the beat with the quick rhythmic sound of his jingling nupuras! Vrinda and all the sakhis are amazed! Wonderful!, they exclaim. Even Radha is struck with wonder! Then smiling Rasika Mohana comes to reap his reward. 1. 29-30 The sakhis eagerly assist Radha Krishnas dancing with their fantastic nritya, gita and vadya, but they cannot match the Divine Couples talents. Then, just as the last beat falls, Rasika Chudamanis hand reaches out to touch Priyajis breast! Although she is pleased by his bold behavior, Radha feigns anger and brushes his hand away! Krishna-bhavanamrita tells a slightly different story: Just before the Rasa dance comes to an end, Radha and Krishna release their mutual hold and begin dancing solo. But Krishna cant resist the urge to dance beside Rai to touch her breastand he does it! However, on the musics last beat, Radha flicks Krishnas hand away! So the sakhis cheer in unison, Jaya Radhe! 31 One gopi kneels to dance at knee-height while outstretching her lata-like arms. Aho! She appears like Kandarpas golden chakra spinning! As Radha and Krishna pause to rest, the other sakhi begin showing their various dancing skills to please them.

32-35 Another Vraja-bala repeatedly raises and contracts her arms. Then, while touching her various bodily limbs, she displays many difficult poses. Touching the ground with her right hand, a gopi turns her body to the sky; then she rotates above her left hand. And sometimes she falls to the ground to perform a rotating dance without support. One slim-waisted gopi bends backwards until her veni touches her heels. Then, while stretching her belly like Cupids bow, she blissfully dances around the Rasa chakra! Another Vraja sundaris ankle bells jingle to the musics rhythmone, two, three! But after silencing them, she continues her dance, and the other talented gopis exclaim: Well done! The skills that the Vraja sundaris display for Krishna on the Rasa mandala far surpass the singing, dancing and music that Brahma, Shiva and other devatas exhibit to please Lord Vishnuwhat to speak of Lakshmis talents? While displaying inconceivable dancing prowess, Krishna enjoys viewing the gopis, kissing them and petitioning them for rati. He also fondles their breasts or marks them with his nails. Thus becoming Radhika and the sakhis ramana, he plunges within the Rasa lilas rasa sagara! Here is svayam bhagavan rasikendra maulis paramount feature. By giving supreme pleasure to the gopis he nourishes his own pleasure. 38 Krishna dances and induces the gopis to dance, he sings and they reciprocate. He glorifies the gopis and they glorify him. So just as a boy plays with his own shadowKrishna enjoys with them. As no dancer is satisfied by dancing alone, and no song is wonderful without an audiencehow could the Topmost Sundara Purusha ever be happy and complete without his parama sundari counterparts? Hence, Rasa is the greatest showcase where love and beauty combine in harmony with singing, dancing and music. Here everything is ideal and perfect. 39-40 One Vraja kishori places Krishnas chandan anointed arm on her shoulder. But as its divine fragrance enters her nostrillsshe shivers, horripilates and sheds ecstatic tears! Thus being stunned, she, appears like a sthira saudamini (steady lightning streak) within a nava jaladhara (new monsooncloud)! The gopis dancing fatigue personifies like a friendly sakhi to decorate their forehead and cheeks with attractive perspiration-beadsthe sing of their sweet vilasa with Krishna. As the gopis dancing goes onthe friendly sakhi of fatigue congratulates them for their wonderful vilasa with pearl necklaces. Thus the gopis perpiration enhances their beauty. 41 At the Rasas conclusion the gopis hair becomes undone, their clothes loosen, the tips of their breasts pulsate with their heavy breathing, perspiration beads cling to their foreheads and cheeks and their bodies turn weak due to exhaustion. Yet Krishna relishes it all! Rasika bhaktas may ponder: Where is the abode of saundarya (refined beauty)? And who are actually beautiful? By meditating on these lilas the anubhava awakens. Ujjvala-nilamani defines

saundarya as refined beauty in all situation. Hence the gopis are the ideal example. 42-49 Seeing Pundarikakshas Makara-earrings dancing over his cheeksone nritya acharya gopa sundari becomes fascinated! Thus placing her cheek beside his, she accepts the pan that Krishna chews with her mouth! Feeling an ananga rangini gopis touch Krishna horripilatesbut she horripilates too from his touch! Then leaning against Krishna and blissfully placing her arms on his shouldersshe takes rest. Fatigued and panged from Rasa-vilasa, one caru shila premavati places Krishnas hand on her nipples to attain shanti! But Krishnas hand and the gopis breasts shake and perspire due to ecstasy! Still Krishnas touch soothes her more than thousanda of moons! Kripa-sindhu Madhava used his lotus hand to wipe the sweat from the gopis faces. But aho! The sattvika ecstasies from his divine touch causes their perspiration to double. With a graceful gesture one friendly gopi uses Krishnas chador to wipe the sweat from her own face! Then using her orana, she wipes Krishnas face. Many of the doe-eyes gopis become satiated simply by the ecstatic waves of Krishnas vilasa sindhu touch! Hence they cannot check their slacking malas, ornaments, clothes and loosened hair! Thus Krishna concludes his Rasa-vilasotsava with its many forms of dancing, singing and music. Yet only the gopis can performs this pastime with him. Thenas Gopi-jana-vallabhas rati desire awakensVrinda escorts Radha and Krishna along the camphor-white sands of the Yamunas bank, and after seating them on a bedstead, she and the sakhis take up various kinds of seva. In Krishna-bhavanamrita, Shrila Vishwanath Chakravarti sums up the Rasa by saying: How was it possible for the ancient sages to relish the Rasa lila by speaking? And those who were so fortunate to see the Rasa are certainly unable to describe it. Yet when even the premika bhaktas begin speaking their voices falter in ecstasyso they are unable to go on! Nevertheless, the Rasa lilas moon-like kripa-shakti illumines the world through Sri shukadeva Goswamis recitation, so that even the people of our world can attain the Rasa-sthalis parama-dhama by following it. 1. Madhu Pana 50 Then Vrinda brings many jeweled containers filled to the brim with various kinds of madhu extracted from flowers and fruit rasa. She also brings all sorts of sliced fruits for the vidamsha (appetizers) and places them before Radha Krishna and the sakhis. Madhu drinking increases ones virility and amorous prowess, hence the madhu pana lila preceeds Krishnas rati keli pastime. Yet Vrinda is a connoisseur in the art of inducing Kandarpas moodsshe supplies many varieties of tasty madhu wine and serves them in sphatika mani crystal

glasses. 51 Krishna then expands himself and sits between each pair of gopis. Then with his vidamsha-like smile, he enjoys the vidamsha-appetisers while inducing the gopa ramanis to sip the madhu. But he sips their adharamrita, and the madhu too. In these two verses, Srila Kaviraj gosvami only gives a dik darshan into the nights madhu pana lila. However, Krishnahnika-kaumudi provides more detail: After walking in the forest, Krishna and Mrigakshi Radha arrive beside a vaidurya-mani vedi beneath a flowering Madhavi-vine. Vrinda has covered this vedi with a silken cloth that is more pleasing than the moonbeams; and placed crystal glasses all around. So now, as Vrinda joyfully brings a crystal decanter filled with madhu a swarm of bees follow behind, blinded by its amazing aroma. The jug is covered by a silken cloth, and there are flower malas wrapped around it. So, at first sight, one might guess: Hmm! Is this the jeweled ghat (jug) meant to inaugurate Kama Devas rati-utsava? Krishna is delighted to see Vrindas nice arrangement, that were meant to fulfill his desires; so taking Radhika-sundari by the hand, he sits down on the vedi with her and all of the Vraja-vadhus. Krishna then requests the gopis to from a circle around him and Radha by sitting on the vedis edge. Thus Sri Yugala Kishore appear like the moon, and the Vraja sundaris appear like a moonbeam bracelet around them. Krishna and his bright shyamala effulgence now appear like a dark cloud embraced by the lightning (Radha) amidst a net of lustrous moonbeams (the sakhis). Aho! Krishnas zeal to dirnk with the gopis produces many vyabhichari bhavas, such as vrida (shyness), utkantha (eagerness), smriti (remembrance), mati (attachment), dhriti (perseverance), kshanti (tranquility), harsha (jubilation), abhyasuya (liberality), shanka (fear), trasa (calamity), shrama (fatigue), and mada(intoxication), in both Radha and Krishna. As Yugala Kishore sit on beautiful asanas, Vrinda unties the malas wrapped around the madhu jug, placing one around each gopis neck. But then the bumblebees turn restless, so Vrinda gets lots of krishna-aguru incense mixed with camphor.....and the smoke lingers and fuses with the gentle breeze. As the madhu pana utsava begins, Vrinda requests the trees to provide a kusuma vrishti (flower rainshower) and while the trees do so, the restless bees trapped within the Malli flowers resound bham bham bham bham bham. Then the kusuma latas danceas their nritya guru, the wind, taught them from youth. The moonbeams filtering through the trees shine on the crystal glasses, so Vrinda is unable to see them properly. Thus while pouring the madhu from her jug, she cannot distinguish whether she is pouring into the glasses or onto the ground. Then, as Vrinda fills two fresh glasses with madhu, the bees start daring over them....so she flicks them away with a blue lotus. Then Vrinda places the glasses before Radha Shyama. Eager to begin drinking, the sakhis serve one another and become surcharged by the madhus sweet effects. Menawhile, Sri Yugala Kishore flick the bees away from the glasses as they await Vrindas signal. Then Krishna places his madhu up to Radhikas mukha padma and says, Priye, you take the first sip. But as Radha lowers her head over the glass, she only sniffs it, and returns it as if having recited a mantra from the Kama- tantras over it.

Although the madhu is fragrant, with the added of Kamala-mukhi Rais face, Krishna cant resist it! So he sips with delight, pauses for a moment to ponder about its specialityand broadly smiles! Then he induces Rai to sip from his own glass, saying: Drink! After sipping Krishnas madhu, Radha begins from her own glassbut murali vadana snatches her glass away and begins drinking! This brings smiles to the sakhiss faces. Aho! When fondness increases amongst loved ones, such exchanges arent the least bit astonishing. Then Vrinda eagerly fills two more glasses and places them before Radha and Krishna. But they sip only a little, and pass the glasses on to the sakhis. After relishing Sri Yugala Kishors adharamrita, the sakhis go on drinking their own madhu. Thus as Priya Keshava drinks with the gopis, the madhus maudlin effect removes their gravity and their eyes turn red. But one smart and enchanting gopa sundari stops drinking after the first glass, for she wants to remain partly sober to view Krishnas vihara with the others. Then the fun begins. The gopis turn shy untimely, cry without a cause, quarrel for no reason, become frightened unnecessarily, lament for nothing, speak meaningless talk, and stare! Aho! The madhu brings about all of these auspiciois symptoms! Some gopis slur their speech or become restless, drowsy, shaky, laugh-loving, paralysed or silent. One sundari cannot see her crystal glass when the moonbeams shine over it, so she becomes upset, thinking that Vrinda hadnt provided her any madhu. Another Vraja kishori turns jealous and neglects to drink. But then a drunken taruni-vallabha exclaims, Oh sakhis! Look! The moonbeams got stuck in my glass; so how can I dink this madhu? Aha! Wont those moonbeams clog my throat? As the bees swarm over the glasses, they cast dark reflections, so some restless sakhis mistake these for thick splotches of condensed honey. Then, using their lovely fingers to stir, they strain the madhu and go on sipping with gusto! One overly intoxicated sundari ramani embraces another, and sweetly exclaims, Sakhi! Whatssssssss go-iiiing on? The skkkyyy is faaaaalliing, the earrrrrrrrth is turningIm faaaallling! Then she cries: Sakhi! Please saaaave me! When bearing Krishnas separation, Radhas deep thought of him sometimes becomes so acute that she thinks she is Krishna; but then Krishna thinks that he is Radha. However, the madhus intoxication now brings about the same mix-up! Thus Radha addresses Krishna: Hey Radhe! And Krishna answers, Hey Krishna! Then Radha says, Oh Radha, are you my dasi? Na, na! Youre my prana, for without you, I would die! Thus as Radha Krishnas rati keli begins, their viparita vilasa reaches a new dimension of divine wonder! And thereafter, their keli rasamaya katha becomes extremely fascinating! 1. Rati Keli 52-54 Groggy with the madhu and Kandarpas arrows, Krishna takes drunken Radha by the hand and leads her to a bed of flowers in a kunja beside the Yamuna, which had been decorated by Vrinda in advance.

The sakhis are also boozed by Kandarpa and the madhu, so Vrinda (and her assistants) carefully escort these rolling-eyed gopa kishoris to their separate kunjas so that they can take rest. Krishna enjoys rati keli with Radha to his full satisfaction. And afterwards, as Radikas svadhina bhartrika mood awakens, Krishna redresses and redecorates her. Then he comes outside with a broad smile! Srila Krishna Das Kaviraj briefly describes Radha-Krishnas nikunja keli in only one shloka. But Srila Rupa Goswami description in his Nikunja-rahasya-stava is more elaborate. This is perhaps Srila Rupas most intimate writing. Here is its translation: 1) They are navina lalita kishor, their bodies are navina loveliness personified, navina prema is their foremost possession, and they are ever thirsty to enjoy navina vilasa keli! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas. 2) Radhas anga kanti is like molten gold, and Krishnas resembles a soft, deep-blue raincloud. Their combined effulgence illumines the entire forest, and they wear thin garments that are bright yellow and deep blue. Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 3) Having first united with Krishna Radharani panics so Krishna tries to pacify her with various entreaties. Although Radha nervously obstructs Priya Keshava, they both anxiously thirst for rati! Radha feigns: na, na! in a faltering voice. Aho! Both are drunk with amour as if love-blinded from all sense! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 4) Radhas lowered head hints approval, so Krishna raises her chin as both their lotus-faces smile! What are you trying to do? Radhika exclaims. These words delight Krishna Chandra. Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 5) Radhas resisting goes on unabated so Krishna tries harder for her concession. Both employ their wit in chatting with each other. Radha is zealous for surata keli yet Krishna churns the desire more! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 6) Theyre ecstatically quarrelling! Radha rebukes Krishna still He repeatedly touches her lotus feet! Then they show veneration for each other! Aho! Their prema taranga is unfathomable! Radha teases with her enticing smileand Krishna daringly places his hand upon her breast! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 7) The bed is prepared with soft forest leaves. Its ideal for Kandarpas battle hence Ananga is taunting them! Radhika and Krishna Chandras ornaments, bangles and nupuras tinkling fascinates the sakhis and manjaris. Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 8 ) As Kandarpas robust lila begins, Priya Keshavas hand sensuously fondles Radhas thighs and large breasts! Then he unfastens her nivi bandhana! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 9) Krishnaji firmly embraces his Kishori-vallabha, crushing her large breasts; hence they become one! Then Radha exhibits dry pouting, but Krishna smiles broadly! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 10) They are always blind with thirst for surata keli and their surata lila intoxicates them! Their ujjvala gaura and nila bodies swell with goose bumps! Aho! They merge to become one! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 11) Their exhilarating anuraga rasa sindhu swells, their oscillation bodies are cancala and theyve transgressed all the barriers of conduct! Glorious are the sakhis and manjaris who relish this superb darshan! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 12) Radha veni tosses as the necklaces, garlands and earrings of Both partners take a beating. Their

mukha chandras* are excited with gentle smiles. Yet their kandarpa keli is the most amazing! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 13) While Sri Yugala Kishor frantically swims within a rasa samudra of surata intoxication( their bracelets, necklaces, waistbells and anklebells fall aside, along with their gold and jeweled ornaments! Aho! Their unadorned anga madhuri(shines like never before! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 14) Flower-clusters dangle from both sides of Sri Yugala Kishors jewel-ornamented hair, but still Keli-cand wants to decorate Rais wonderful veni, and she begins to arrange his chura! Aho! Every second theyre becoming more and more bound within the limitless ropes of prema! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 15) When Rai Kishoris veni is tied it extends to her knees, and Krishnas peacock feathered mohana chura is captivating. The Divine Couple Both wear bangles and bracelets on their wrists. Radhas silken undergarment is red and Krishna wears his pitambara. Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 16) Radhas body is yellow, like gold, and Krishnas body is blue, like a cloud. Their kamala nayanas are deep blue and red-tinted around the borders, tilak designs of deer musk adorn their foreheads, and theyre garlanded by Malatiand kunda malas. Their deep-blue and pitambara outfits match their new youth. Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 17) Theyre lalita nava kishorloveliness personified, the worshipable crown-jewels of all rasika persons, and sweeter than the sweetest! Their dress is simply manoharacolored like a flash of lightning within a raincloud! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 18 ) Deeply absorbed within the most intimate rasa, theyre indescribably sweet as they exchange madhura smiles and glances and converse back and forth in a wonderfully intriguing fashion! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 19) As the purport to the most confidential narrations in the Shrutis, this Couple nourishes each others intense prema but now their ananga keli reaches an extreme pitch! Aho! Theyve become blinded with surata intoxication as they fully surrender to each other! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 20) Rai holds a tambul vitika (pan) up to her Priya Ramanas moon-like face, and after chewing, Krishna offers it back to rasa nidhi Rais mouth with a sarasa kiss. But now theyve become mad to touch each other again and again! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 21) Due to rati stupors brawn their eyes turn pensiveyet remain actively restless! And for the surata keli utsava they both employ amazing skill! Hence, the sakhis and manjaris who eagerly watch outside the keli bhavana ecstatically gossip about this rasa lila. Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 22) Aho! The feverish ecstasy of their tussle produces remorse! Yet the breeze blows through the svarna mandirs windows to cool them as the sakhis and manjaris watch this ramaniya vihara Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 23) This wonderful lila is su-lalita (very lovely) to behold, and their restless bodies display rati cihnas. Thus lovely Lalita and the others (who are an ocean of Radhas friendship) peek through the windows with unblinking eyes and embrace this madhura darshan to their hearts! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 24) Aho! Their prema vilasa becomes more and more amazing! And Radhas loving sakhis cant hold on a moments morewhile peeking from the windows they fall unconscious from the excruciating impact of premas darshan-ananda! Oh mind! Just meditate on Radha Krishna within

the hidden nikunjas! 25) Again and again their hands fondle each others bodies, they are questioning each other and exchanging rasa katha yet their unblinking nayana bhramaras constantly relish the madhu from each others mukha padmas! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 26) Their minds and bodies unceasingly churn within the whirlpools of Kandarpas amazing rasa sagara! As their rasamaya muratis touch in various ways, the sakhis and manjaris turn spellbound! Aho! Theyre coyly smiling and speaking all sorts of indistinct jibberish! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 27) In the fatigue of surata keli their bodies are thinning, so the priya sakhis fan them with their chadors. Then they relish a sarasa (tasty) tambul vitika as their leaf-like lips turn red to enhance their beautiful mukharavindas. Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 28 ) While embracing each other around the neck, their entire bodies erupt in goose bumps! Resting cheek to cheek, their kinkinis come undone to rest at their charana kamalas. Yet in the jostling of ever-fresh rati rasa keli their lotus eyes slightly close! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 29) From head to toe their bodies submerge within a surata rasa samudra! And three praharas of the night have already elapsed as if it was just a second! Aho! Their thirst for ananga keli increases limitlessly at every moment! Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 30) Radha Krishna nama is a madhura dhama; yet only the most fortunate persons receive their darshan by extrema affection (prema). And although unknowable by the Vedas, they always appear within the sakhis and manjaris assembly. Oh mind! Just meditate on Radha Krishna within the hidden nikunjas! 31) Radha Keli-candas parama rahasyamaya (most secret) and divine nikunja keli forms an ananda sindhu. Hey rasika bhavuka bhaktas! Just discard other thoughts, family attachment and the Vedic strictures to perform exclusive Yugala-bhajan! 32) Radha Krishnas delightful prema vilasa is the most amazing, wonderful and manohara! Those reciting this stava* with deep feeling and with a pure heart at night will become the friends of Radhas sakhis. 1. Phala-shruti (the benediction) 55-62 Following Radhas request, Krishna expands himself and eters each sakhis kunja. Then he enjoys rati keli with them. But afterwards, they all behave like svadhina bhartrika nayikasjust as Radha did. Then Krishna slips away (unseen) from each sakhi becomes one murti again, and returns to Radha. And seeing him, Radha mildly smiles. Then the rolling-eyed, smiling sakhis return to Sri Yugala Kishor. Yet due to shyness they cover their rati cihnas with their garments, and lower their heads. Seeing their plight, Radhika begins to tease them: my dear sakhis! Our rati nayaka was here with me and Vrinda. He hasnt gone anywhere so who has performed Ratis dance with you, and how have your bodies become bruised?

Krishna laughs and replies, Dont you know, Radhe? I m the sarva shreshtha rasa nayaka (the greatest lover)and my murti resides everywhere! Thus, on the stage of every kunja Ive performed ratis dance with my preyasisand their bodies reveal my talents! Krishnas boldness triggers the sakhis loving resentment towards him and Radha. Thus the sakhis reply: Oho! Hey Govinda! Our friend (Radha) always keeps you dancing with ratis step; thus shes your nritya gura! So why are you trying to make us her grand-disciples? The sakhis go on: Shastra says that those who voluntarily serve are the real disciples, but you have used force and thats not proper. So youre not our Guru, and were not your disciples! Hence your efforts are just a waste of time. Then the gopis chide Radha as follows: Hey sakhi! Hey Bhogini (enjoying girl)! Ohey Sarpi (female snake)! Were nakulanganas (female mongoose) and youre unaware of our real intentions. So why did you needlessly send that Bhujanga (black snake) to torment us? Using shlesharthas (multiple meaning words) the gopis try to save face and prove their disinterest towards surata vilasa. Yet these saucy words are also a counter-offensive to Krishna and Radha, which pokes fun at them: Were lady mongooseso dont you know that we always resist the Bhujanga (black Krishnasnake)? But Radha! Youre bhujanga priya bhogini (dearest enjoyer of that Bhujanga) and hence, youre always making love with him. Thats allright, as far as we are concerned, but why do you send him to disturb us? Yet the gopis sleshartha katha (puns) also hints at their pure intentions: Oh Radha! Weve discarded all so-called worldly dharma and completely surrendered ourselves for making you happy. So when we unite you with your Priya Nagara, we dont expect anything in return. 1. Jala Vihara 63-64 To relieve the fatigue of the Rasa and his rati vilasa with the gopis, Krishna gathers them together and enters the Yamuna for jala vihara. Just as a drunken elephant enters the water with his mates! Some of the tired gopa kishoris stand in knee-deep water, or up to their navels, while others move to neck-deep water. Then Krishna lightly splashes themso they splash back in frolic. Before entering the Yamuna the gopis put on very thin, white snana vastras. But as everyone enters the water, Krishna expands himself and begins teasing. He pulls some gopis into knee-deep water and others into navel-deep water, and then splashes in such a way that their thin garments cling to their bodies and reveal their full anga madhuri! But they splash Krishna too so that they can see through his thin garments also! Then Krishna pulls some of the gopis into deep water and kisses them! 65 Krishna frolics with some taruni-ramanis alone, or he frolics in groups of five or six and

sometimes he frolics with all of them after fixing various types of wagers. What are the wagers? Kisses, embraces and lip-biting are at stake. First Krishna duels with Radha, then he steps between Lalita, Vishakha, Chitra, Champakalata and Indulekha, or between other groups of gopisor with everyone at once. As Madanas intoxication increases, the battle progresses hand-to-hand, chest-to-chest, face-to-face and even tooth-to-tooth! Aho! Everyone is going all out to win, while the manjaris cheer from the banks. 66 When someone wins, the loser must give kisses. But sometimes the loser refuses to give a kiss, and a quarrel ensues. Thus Krishna enjoys parama-ananda with his taruni ramanis. Whats all of the commotion about? Sometimes it is Krishna and sometimes it is the gopis who win. So when ananda nidhi Krishna triumphs, he holds his face outright and expands his chest to coax the gopis into kissing and embracing him. But they turn shy and only smile at each other. And when the gopis win Krishna rushes to grab and kiss them. But instead of accepting their due rewardthey flee to safety! Thus the gopis neglect to offer or to acept the kiss and a raging quarrel begins! But during the commotion Nagara-shekhara moves into fondle and forcefully kiss these clever Kishorivallabhas. 67 Then Krishna speaks equivocally: How amazing! Its night time, but the chakravakas are uniting and the bees are mad after the blooming padmas madhu! Thus the gopa tarunis wince and quickly cover their breasts and faces with their hands! After fleeing, the gopis shyly lower their heads to rest over their breasts. And seeing this madhura scene, Rasika raja smiles and recites this amusing pun which outwardly means: Aha! Two chakravaka-birds very rarely perch together at night, and rarer still it is to see a beautiful lotus blooming over them. This would certainly excite a lusty bee! But the sharp-witted gopa sundaris immediately fathom the inner meaning and exclaim: Uh-oh, here comes that lusty Shyamabhramara to land on our lotus-faces after stinging our chakravaka-breasts! Thus they quickly prepare to protect themselves! 68-69 Seeing Minakshi Rais beautiful eyes, the restless minnows swimming in the Yamuna feel shy and defeated. Thus struck with wonder, they lose their course and bump into Radhas submerged bodily limbs! Then Radha embraces Krishna in a fightbut he takes the hug as a friendly gesture. Its amazing that as the Vraja sundaris frolic with each other by splashing, throwing lotus flowers or thrashing each other with lotus-stemsno one loses! Yet Krishna loses his patience while watching them! Krishnas meditation is fixed on the gopis anga madhuri. As they raise their golden lotus-stemarms, reveal their breasts, show exotic expressions or exhibit delightful bodily gestureshe stands agape! 70 Then forming a circle with two three, five, six seven or eight gopis, Krishna introduces the game

called jala-manduka vadya. Rasamaya Shyamasundar gathers the gopis in different groups to stand with them in waist-deep water. Then while slapping his hand across the water he produces all sorts of amazing sounds. This is one of the 64 arts in which the gopis excel, too. 71 While drenched in the ghana rasa (the water, or shringar rasa) the gopis kunkum washes from their stana yugala, the kajjal washes from their eyes their hair comes undone, their nivi bandhana breaks and their pearl necklaces fall apart! Due to the jala kelis tussle, and the intoxication effects of the ghana rasa (Cupids shringar rasa) the gopa sundaris attain mukti. In other words all of their clothes, ornaments, garlands, and make up wash away. 72 Viewing the gopis unadorned beauty delights Krishnas eyesso he hankers to enjoy them. Although the chandan from the Vraja tarunis bodies washes into the Yamuna, making her appear white like the Ganga, still, because Krishnas jala keli with the gopis takes place in the Yamuna, her fortune defeats the Gangas. Thus enjoying jala vihara, Krishna steps onto the Yamunas shore with his kantas. The manjaris dry their hair and bodies with soft towels; then they dress everyone in new clothes. The parama preshtha sakhis are attired as follows: Lalita wears an outfit with a peacock feather-print, Vishakhas is star-clustered, Chitras is crystal, Champakalatas is effulgent blue, Rangadevi and Sudevis are deep red like a Java flower, Indulekhas is pomegranate-red and Tungavidyas is pale yello. Radha and Krishna wear nilambara and pitambara. In Caitanya-caritamrita, Radha Krishnas jala keli is seen through Sriman Gaurasundars lila sphurti in manjari bhava. Thus through his bhavavesha he teaches manjari-upasana. Since this is a confidential mood of the Lords, only the rasika bhaktas can fathom it. Caitanya-caritamritas narration runs as follows: Once Sriman Mahaprabhu jumped into the sea, mistaking it for the Yamuna. While the Lord floated unconsciously upon the oceans waves, a fisherman caught him in his net and brought him to the shore. Menawhile, Svarupa Damodar and the other bhaktas searched everywhere for the Lord, until, at last the fisherman led them to the place where he was lying. When Gauranga returned to half-external consciousness he began relating the details of his sphurti (vision) as follows: Today I went to Vrindavan and saw Vrajendra-kumaras Yamuna-jala keli. Taking Radhika and the other gopis, Krishna sported in great amusement. I stood on the shore and watched as a manjari described everything to me. She said: Look! After removing their clothes and ornaments, the sakhis leave them with the manjaris, and put on their white snana vastras. But as everyone enters the water, Krishna directs his gopi- kantas in a circle. Sakhi hey! Just see Krishnas jala keli ranga! Krishnas arms, that resemble

restless trunks of drunken elephants, splash the Vraja-padminis, who resemble female elephants. Aho! Everyone is splashing water in great tumult! So as the competition goes on, its hard to tell whos winning. The lightning-complexioned gopis are profusely showering Nava-ghana Shyama, who resembles a dark raincloud. But Hes reciprocating, and the gopis chataka bird-eyes are joyfully drinking the splendid darshan. Look! Although the battle first began with Krishna and the gopis splashing waternow they have progressed into fighting hand-to-hand, face-to-face, chest-tochest, tooth-to-tooth and finally nail-to-nail! With thousands of hands the gopis splash Krishna with thousands of eyes they view him and with thousands of feet they go to him! Then as their thousands of bodies unite with his, they kiss him with thousands of mouths and listen to his sweet talks with thousands of ears! But look! Krishna is taking Radha into the deep water and then releases her, so she embraces Shyama around the neck and bobs over the water like a padma floating beside an elephants tusk. Aho! Krishna is expanding into many murtis....and hes snatching all of the gopa kishoris garments; Krishna must be enjoying the darshan of their shiny bodily limbs in the Yamunas clear water. But look! The lotuses are befriending the Vraja-padministheyre offering their leaves to protect them. But some Vraja tarunis open their hair and use their hands to cover their private parts. Just see! Krishna is picking a quarrel with Radha! Yet meanwhile, the sakhis go to hide in a goldren lotus patch, and their faces look just like golden lotuses also, so Krishna enjoys vilasa with Radha, and afterwards, he begins searching for the others. Then Caturini Rai also goes to hide. Oh look! As countless blue lotus flowers glide over the watertheyre attacking the golden lotuses! (The manjaris relish this scene from the shore.) Aho! As many pairs of chakravakas rise from the watermany pairs of blue lotuses try to cover then! So many pairs of red lotuses now strive to chase the blue lotuses away! Aha! The battle now ensues over the chakravakas! But its surprisingalthough chakravakas are conscious and lotuses are unconsciousstill the blue lotuses cover the chakravakas! So in Krishnas world the nature of these two objects becomes reversed. Yet moreover, although the lotuses and the chakravakasare friendsin madhura vrindavana the lotuses attack the chakravakasindeed, this is amazing! Sriman Mahaprabhu concludes his testimony by saying: Thus seeing Krishnas lilamy mind, eyes and ears became satiated! 1. The Sringara 75-82 Escorted by Vrinda, Krishna and the gopis enter a golden mandir and in its eastern corridor, sit upon a golden vedi that is smothered in flower petals. Then, from the desire tree, Vrinda collects some amazing fruitsbaskets that are filled with clothes, ornaments, scents, kunkum and tilak that are meant for everyones shringar. Each basket is marked with the name of whom it is for. Thus the manjaris take the baskets and begin outfitting Krishna and his gopa sundaris. When the shringar is complete, Krishna appears like an ujjvala rasa murti (shringar rasa personified), and Radha and her sakhis appear like Rati (Cupids wife, the devi of rati-krida).

Krishna thus resembles the moon, and Radha and her sakhis are like the moonraysjust as the moon and its rays are one, yet different. When in Krishnas company, Radha and her sakhis anoint themselves with the shining oil of affection, their friendship resembles udvartana (scented powder), they bathe in the nectar of youth and their effulgence is their dress of loveliness. The sakhis great fortune is their tilak, their refined beauty is their perfume, and their bodily ornaments are their ashta sattvika bhavas These ornaments include: kila kincita, vivvoka, unmada, autsukya and all of the other vyabhichari bhavas. Although Radha and sakhis are thus fully decorated, still the manjaris expertly dress them with clothes and ornaments, so that their beauty is doubled.

Nisha-bhojan 83-84 After the shringar, Rupa Manjari brings sweets such us ananga gutika, sidhu vilasa and laddus made from milk. Then Vrinda serves an array of juicy, sliced forest fruits that have their seeds and skins removed. Thus Krishna enjoys bhojan with Radha and the sakhis. Then he performs achaman and goes to take rest in the keli mandir. To enhance the meditation, we can remember that Govinda-sthali is an island in the Yamuna, shaped like a tortoise shell. The Yogapith mandir is in the center, surrounded by four kunjas : 1) The madhupan lila took place in Sitambuja Kunja (in the north). 2) The shringar after jala keli just happened in Nilambuja Kunja (in the east). 3) bhojan vilasa is now unfolding in Arunambuja Kunja (in the south). 4) And coming next is the Shayana lila when Radha Govinda and the sakhis take rest in Hemambuja Kunja (in the west). The sweets that Rupa Manjari serves were made by Radha during the Aparahna Lila. In Caitanya-caritamrita, Sriman Gaurahari continues relating his vision of Radha Krishnas nisha lila: ...and speaking of the trees and latas of Vrindavan, they are amazing, for they yield flowers and fruits twelve months a year. Vrinda and her vana devis (who are like kunja dasis) pick these fruits, nicely slice them and arrange them on large plates, and bring them to the jeweled mandir (in Arunambuja Kunja), placing them above the bhojan vedi. After the edibles are arranged, the asanas are placed around for sitting. There are many types of coconuts bananas and mangoes plus pineapples, dates, tangerines, oranges, blackberries, samataras, grapes, nuts meoya, watermelons, palm fruits, waterfruits keshoras, lotus-stems, bael. pilu and pomegranales. Yet there are thousands of varieties of other exotic fruits, too; it is impossible to mention them all. The sweets include ganga-jala, amrita keli, piyusha granthi, karpura keli, sarapuri, padma-cini and thickened kshira which were all brought from Radhikas home. Krishna is delighted seeing the wonderful arrangement Thus he enjoys vana bhojan with Radha and the sakhis. Then he retires with Radha to the Shayana mandir. (CC Antya 18 )

1. The Shayana Lila 85-89The keli mandir is open on all four sides so that the Yamunas cool breezes can enter. Its jewels shine like millions of suns, and the jeweled bedstead in the center renders it the abode of Krishnas kama keli. The soft bed is covered by a swan-white sheet and smothered with fragrant flower petals; there are many gorgeous pillows in various shapes and sizes placed all around. Aguruincense keeps the room nicely scented. Thus Krishna goes to rest with preyasi shiromani Radha. On the beds north and south are two raised seats where Lalita and Vishakha sit to supply Radha Govindas tambul. And after they chew the pan, Premamaya and Premamayi affectionately offer their remnants to the sakhis. Sri Rupa and Sri Rati Manjari sit on the beds western side to massage Radha and Krishnas charana kamala; and other fortunate manjaris fan with chamara whisks.

90 Then Lalita, Vishakha and the other sakhis leave the vilasa mandir to take rest in their own kalpataru nikunjas. Tika: These kunjas have been decorated by Vrinda and her vana devis, Krishna will soon expand into many prakasha nurtis to sleep beside each sakhi. 91 Seeing Radha Govindas eyes close, Sri Rupa and the other seva dasis happily go to take rest on a vedi Just outside the keli mandir. The manjaris sleep close to Sri Yugala Kishor; if the need to perform any more late night seva arises they are within reach of Srimatis call. Sriman Mahaprabhus manjari bhava sphurti thus concludes, Radha and Krishna went to the shayan mandir to take rest. Someone began fanning with a whisk, others massaged their feet, and someone prepared tambul and offered it to them. Then as Radha Krishna fell asleep, the manjaris left to take rest. This made me very happy. (CC Antya 1 Here is Krishna-bhavanamritas last scene: After his late evening bhojan, kunda-danta Mukunda begins chewing a golden tambul vitika offered by a seva dasi. His face is incomparably beautiful, yet perhaps if the Creator were to collect the best nilamani, place above it the full moon bathed in madhurya and stuffed wilh star-clusters dipped in red anuraga we might get some idea of it. (Krishnas body is compared with a nilamani, his face with the moon, his teeth with the stars, and his pan-tinted lips with red anuraga.) With the rising, full moon of Krishnas beauty, the darkness of Srimati Radharanis patience is destroyed, the lotus of her shyness withers, the lily of her erotic desires blossom, and her chandrakanta mani eyes begin shedding tears! So seeing his preyasi mani Rai succumbing to Cupids onslaughts, Krishna speaks in a way that will enhance those bhavas, Hey lola-nayani Radhe! Look, as the wind blows through the trees, the moonbeams filter through their foliage to decorate the ground in interlacing patterns. So the moon

must want to serve our Vrindavan with its lightbeams; yet our friend, the wind, catches them within the trees sieve- like leaves to strain them. Hey Pranadhike Radhike! Krishna continues, Lets retire to the kalpa taru nikunjas and take rest on a nice, soft bed of flowers. Thus holding Priyajis hand, Kalanidhi Madhava lifts her from the vedi, places his arm around her shoulder, escorts her to the kunja and places her on the bed. But as Sri Yugala Kishor take rest, the kinkaris desires become fulfilled, for they have been wondering, When will Radha Shyama take rest, so that we can massage their feet? Thus that sweet moment arrives. 1. The Manjaris Supreme Fortune As Radha and Krishna lie on the pushpa shayya, two dasis come to the edge of the bed and sit down. Then carefully placing the devatas of their Ishwar and Ishwaris charan yugala upon the golden altar of their thighs, they begin puja. First they offer the padya (foot-bath) of their tears, followed by the arghya of their horripilation. But as they meditate on the softness of Radha Krishnas charana padmas, they fear that such arghya may pierce their tender soles. Thus the kinkaris begin massaging with their lotus petal fingers. But then they realize their mistake: Uh-oh! According to archan rules, scents (gandha) should always be offered before flowers! So the clever seva dasis rub the kasturi, chandan and kunkum from their breasts onto Radha Krishnas lotus feet. Then the fragrant incense of their breath is offered, followed by the bright lamps of their fingernails. Yet imagining their two breasts as pomegranates, the kinkaris rub them over Radha Krishnas feet for the naivedya (bhoga offering). Then, collecting some camphor, they mix it with their prana pradip, and offer arati. While gazing upon Radha and Krishnas lotus feet, the manjaris imagine them to be like tender new leaves resting upon their banana tree thighs. But as the dasis fingers press and contract like dancing red lotus petals, their bracelets and bangles tinkle like a swarm of empassioned bumblebees. Some kinkaris fan with flower fan, and seeing their movements one might guess: Oh, are they great dancing poets who have come to please their Ishwar and Ishwari? On either side of Sri Yugala Kishor, two kinkaris wrap nutmeg, cloves, camphor and other spices in golden tambul vitikas and slip them into Radha and Krishnas mouths. Thus it appears that as two full moons rise over the bed of flowers, two svarna latas, which bask in their effulgence, offer their leaves to worship them. Rasika Shyamasundar is eager to have rati keli with Radhika, so he says, Hey Priye! Your kinkaris must be very tired. I see that their eyes are rolling. So why dont you allow them to take rest? Yet if your feet still feel sore, Ill be your masseur. As the manjaris relish Rasika Muraris kathamrita, they understand: Ah, our most cherished moment has come! Thus they tiptoe out of the vilasa bhavan in the way that a serene pujari exits from a deva mandir after performing puja. The description of Krishnas rati keli utsava now begins, using alankar (metaphor) and shleshartha (words with multiple meanings): Upon reaching the ghat of Kandarpas sarovar, Rasika Shekhara wishes to bathe, but when dipping in the chilly water his hairs stand erect! Seeing Surata-rangini Rai, Krishna becomes exceedingly greedy to purify himself within the lake of her bodily limbs, but when he touches herhe horripilates as he anticipates beginning Kandarpas yajna! Before starting, Krishna performs amrita achaman three times, according to Anangas vidhi, to clear

away the obstacles that might upset the yajnas smooth performance. (Before having rati keli with Radha, Krishna kisses her three times on the lips for removing her vama tendency.) Then gradually, gaining confidence that Radha will not resist him, Krishna begins his puja. He stretches his hands over the beautiful golden puja kumbhas (Rais breasts) and writes the names of Uma and Shiva on them with kunkum. Then, while deeply immersed within an Ananga-taranga, Krishna meditates that these golden puja ghats are non-different from the Yugala puja devatas, Shiva and Parvati. As Radhas surata pleasure awakens, she lovingly contemplates: How shall I share this mahaananda with my sakhis? Understanding Radhas sakhi sneha, Krishna expands into many murtis to enjoy vihara with all of the sakhis, too. But meanwhile, the manjaris peep through the window to view Sri Yugala Kishors vilasa kelifor without doing so, their lives are meaningless. Then one seva dasi exclaims to the others, Oh hey alis! Whats going on here? As these two lovers firmly embrace, theyre trembling and becoming stunned! Oh sakhi, look! Due to separations pangs they exclaim ha ha! with faltering voices as they bathe each other in their warm tears! But sakhi! Look! Look! Having let go of each other, they go on striking their heads, shedding tears, and experiencing great distress and waning away upon imagining the others demise! The purport here is that when anuraga reaches an extreme pitch, prema vaichittya takes over. Then Radha and Krishnas tear-filled eyes impair their vision and they imagine: Aha! My beloved has left me! So even while they embrace, moha (delusion) causes incredible lamentation. Hence the waves of prema vaichittya disturb Radha Krishnas ananga rasa. So by anuragas extreme force and premas crooked course Sri Yugala Kishor sometimes become very glad, and sometimes very sad. But after a moment, another kinkari exclaims, Hey sakhis! You need not lament anymore; our Divine Couple are now embracing again. Look! They pour cool tears over each other as if doing an abhisheka! Just listen to what theyre saying Krishna tells Radhika: Hey manini (Jealous girl)! Hey Priye! Where did you go after leaving me? Then Radha exclaims, Oh Priyatama! Did you hide to play a joke on me? Thus the manjaris sweetly smile while overhearing Radha and Krishnas strange conversation. But after the separation in union, when Radha and Krishna resume embracing, one surprised kinkari questions another: Hey sakhi! Why did they both experience viraha even while being together? Im also wondering how they were united againeven without anothers help? Whats going on? Hearing the inquiry, the seva dasi, being a pandit of Sri Yugala Kishors rasa tattva owing to her oneness with them, replies, When separation occurs between the Two, they begin to deeply meditate on each other. This causes a sphurti of the Beloved. But while trying to embrace the sphurti they each realize that it is only imaginary, and viraha reawakens. But prema vaichittyas viraha is different, because as Radha and Krishna experience viraha in union, their mutual sphurti turns into sakshat darshan! Thus when a sphurti comes due to intense absorption, and when they endeavor to embrace the sphurti they find each other really there! And this is what just happened. But O sakhi! As prema vaichittya awakens viraha, never think that this rasa is inferior. Just look before you and youll see why prema vaichittya has increased Radha Krishna anuraga for union a million times, so their sambhoga reached the status of samriddhiman! Hey priya sakhi! Look, look! As our Priya Yugala now anxiously fear separation, they remove each others clothes, tightly

embrace each other and yearn to enter into each others hearts! Aho! Surely Radha must be thinking: My priya ramana always desires to embrace me so today let me enter his heart so that he can enjoy me forever! And Krishna feels the same about Radha. The dasi goes on: Oh sakhi! Our vilasi yugalas bodies have become one by their firm embrace, and this is befitting because Radha Krishnas mind and soul are oneit is only their bodies that are different. Another dasi exclaims, Oh sakhi! Just see how Krishnas chest is pushing Radhas! Ill bet that this arrogant chest is jealous of Radhas large breasts and thinks, Within the three worlds only I am highly situated, but these two svarna kumbhas want to defeat me! Therefore, Ill reduce them to dwarfs! Thus Krishnas chest repeatedly squizes Radhas raised kucha yugala. Another manjari exclaims, Sakhis! Just observe how theyre kissing! It reminds me of how the moon and the lotus are Madanas friend, and yet are jealous of each other. So has Madana finally united these two after all? Just look at how theyre exchanging rasa. Tika: Although the moon acts like the lotus enemy by shrivelling it, when Krishnas mukha chandra kisses Radhas mukha kamala, they happily unite to exchange adhara rasa and nourish their prem. Or perhaps did two kamalas bloom from two limitless ujjvala rasa sarovars to be joined by Kandarpas wind? Maybe thats why the two bumblebees trapped within each lotus turned restless? But Oh sakhi! another dasi says, When Radha Krishna kiss, the curling hair falling over their faces reminds me of something else: The moon of Brahmas creation can not remain full, nor is it pure, for it has some faults. That is why Kandarpa made two spotless full moons over Radha Krishnas faces. Yet these two moons are always jealous of each other and love to bicker. Thats why their enemies, those restless curling hairs, now take this opportunity to surround the battle site on all fronts! The dasi continues: Oh sakhi! As Radha and Krishna kiss each others eyes, black kajjal rubs onto their lips. So as Radhika now kisses Krishnas lips, she swallows up the kajjal, replacing it with her carvita tambul stain. Radhika surely must have thought, Hay, hay! The moon may be marred by a spot, but how has this enchanting lotus become spotted? Thus she anxiously swallowed it and repainted the kamala. Another seva dasi, carefully viewing the situation, remarks, Hey sahachari! Look here! As our priya yugala bit each others lips, it appears that four bandhuli flowers are battling to usurp each others pollen! But hay! Madana Raja has intervened and hes slicing the bandhuli with his kunda flower spears! The seva dasi goes on, Oh sakhi! Radhas stana yugala are marked by Krishnas nails, and the pearl necklace that rested over them broke from his fondling! So did Madana garland these two Shiva lingas, his archenemies, with a moon-sliver necklace? After all, the lingas dearest friend, the Ganga, which flows from their peaks, now fearfully flees to spill in tear droplets! The dasi continues, Oho sakhis! Just look! Has a golden lightning streak become over-infatuated with Madanas pride? For it is boldly rising over a new monsoon cloud! Thus the manjaris viewing the spectacle shed ecstatic tears and drench the nikunja bhavana window! Meanwhile, the dasis pulling on the ceiling fans ropes also shed limitless tears and become blinded by them. So they curse themselves, Oh stop this damn prema thats vexing usits blocking our madhura darshan!

Aho! As the chandra zealously drinks the padmas madhu, the padma anxiously worries: How dare the chandra usurp all of my pollen? Thus the padmas intoxicated bees strike back to drink the chandramrita! As Radhika reigns over Krishnas body during viparita vilasa, her wonderful mukha chandra lavishly loots the nectar from his mukharavinda! But Radhas rati prowess strikes Krishna with wonder, so his bumblebee eyes plunder the lovely luster of her moon face! But as surata rangini Rais assault continues, her pearl necklace dances over the Kaustubha sun peeking through the Krishna cloud! Then Rais golden, swan-like anklebells excitingly resound to announce her victory! As their bodies rub together, a wonderful scent is produced. It allures thousands of buzzing honeybees which fill the vilasa bhavana! Aho! Their rati concert awakens ashta sattvika bhavas for the rasika spectators such as Rupa, Rati, Rangini and others! Radha Krishnas never-ending pursuit to relish rasamrita is satiating them their protective chandan armor streams in perspiration, yet their serpentine arms tightly bind each other. Aho! The nava kishor yugalas unending thirst for victory in the rati battle goes on! Thus Srila Chakravartipada returns to the head bead of Krishna-bhavanamritas japa meditation: Rasamaya nagara Shyama and rasamayi nagari Radha are Both expert in the practise of Cupids martial arts. Hence the irrepressible wish to share this talent instigates the war of Ananga! Then, finally, the sakhi of fatigue invites Nidra Devi (sleep) to conclude the battle. So with their fatigue of Kandarpa Keli, Radha Krishna now fall asleep. 1.