The Rasa Dance

The thirty third chapter describes the rasa dance, various amusements, playing in the water and the conversion between Sukadeva and Pariksit.

The gopis, whose lust was increased by his touch, hearing his attractive words (supesala), gave up their pain of separation. Another meaning is “The gopis gave up their pain on hearing the attractive words of Krsna, whose joy increased by the touch of their bodies.”

Because the gopis indignation has died through the questions and answers of the previous chapter, the amusements of embracing and kissing etc. could now take place.

When the rasas of singing, dancing, kissing, embracing combine together, it becomes raasa. Amusement composed of raasa is called raasa krda. He mixed with those gopis, jewels among women, who were now favorable, being of the same mind (anuvarta), who had their hands joined together.

This verse describes how Krsna mixed with the gopis. This raasa gave nectar like bliss to the cataka birds of the devotees eyes and minds, and thus it is called utsava, or festival. This festival began in a perfectly arranged way (samyak =sam pravrtta), with the gopis standing in a circle with Krsna entering between each pair. One should not think that this verse means that the rasa krda was begun by Krsna, that he initiated the rasa dance. Krsna was not the doer, the rasa lila was the doer. Krsna gave the rasa lila the independence to begin the action. Krsna remained present as one of the ingredients of the festival. In this way, more than Krsna himself, more than all his energies and more than all his lilas, the supreme position of the rasa utsava is proclaimed throughout the universe. And therefore Laksmi and others became eager to participate, though they could not do so.

How was Krsna positioned between the gopis? He entered between the gopis embracing their necks on either side. From the statement in the sixth verse, that that he was like a great emerald among all the golden jewels, and the use of the word emerald in the singular form, and from the statement in the third verse, that he existed between the two gopis, it should be understood that he did not just remain after entering between them, that is, having entered between them he performed the rasa lila. Rather, from the central position, like the center of the lotus, he displayed quick movements from the center,moving between the two gopis and displayed his dancing. In the flash of a second, he would come from the center to the circle of three hundred koti gopis and dance between them, embracing them, and then return to the center again. His movement was quicker than a fire brand, because at that time everyone could see Krsna, standing in the center, and also situated between the gopis. In this connection Bilvamangala has said, “Madhava was between each pair of gopis. and also each gopi was between two Madhavas. And Krsna began playing his flute from the central position.” As the cause of this extraordinary event, Krsna is described as yogesvara, mahavisnu, master of all methods or means, since he is the ocean of all arts. Yoga can mean “method” according to the Amara Kosa. Or yoga can refer to yogamaya, the great sakti which can to what seems impossible. The master of this yogamaya is Krsna. Knowing that Krsna desire to embrace all the gopis simultaneously, Yogamaya manifested a Krsna for each gopi to solve this problem.

There are two ways of understanding the phrase “Krsna entered between each pair of gopis.” The first understanding is that Krsna expanded as two forms on the two sides of each gopi. The second understanding is that one Krsna entered between each pair of gopis. In the first explanation, each gopi would have Krsna on each shoulder, which would be contradictory for her. But this should not be a worry, because the great Yogamaya sakti made each gopi aware that only one Krsna was touching her. There is no contraction however in the second explanation.

Each of these women thought that Krsna was with standing with her. Though this was certainly so, he could also be seen everywhere. That was one of his dancing arts. In the middle of the circle, the son of Devaki stood embraced by the queen of Vrndavana, Sri Radha. This is the intention of the Krsna sata nama stotra, saying, calling her the cause of the rasa krida (rasa krida karanam).

At that time, hundreds of devatas such as Brahma appeared in airplanes. They were eager to see the dancing part of the rasa lila, not the confidential part, for being dasya bhaktas, they did not have qualification for the other parts. That means that by the arrangement of Yogamaya the males of svarga and other abodes could see Krsna alone, and not the gopis.

5.The bangles, ankle bells and waist bells of the those women with Krsna (sa priyanam) made a great sound. Ca indicates that musical instruments such as various types of drums also were played. However, indicating them only by ca means that they were not the principal instruments, and did not cover the sound of the gopis’ornaments.

Though born as a ksatriya (devaki putra), though full with six opulences (bhagavan), he appeared most beautiful situated among the women of cowherd descent. Though Krsna is the color of a blue sapphire, in mixing with the golden color of the gopis, he turned emerald color (marakata mani). The word maha is used to indicate that the beauty was extraordinary. Some say that the world marakata also means sapphire. Thus the word maha mArakata, meaning being like an emerald though actually being sapphire, is also seen in some versions of the text.

Just as Krsna attained additional beauty in association with the gopis, so the gopis also attained additional beauty in association with Krsna.

Tha foot movements of the gopis coordinated with the songs’ rhythm and rasa. In this way the gopis manifested more and more colorful dances and songs. Though the gopis were all holding each other or Krsna, their hands made exquisite movements. Sometimes they also freed their hands, and then quickly showed various mudras to express the subject of the song. In order to indicate the rasa and confirm the skill of their song or dance, they moved their eyebrows and smiled. Because their waists were thin by nature, they appeared bent during the movements of dancing. They picked up the cloths that they had laid on the ground for Krsna to sit on after he got up, and waved those cloths in the air while they sang. These women are called krsna vadhva. Vadhu can mean, women, wife and daughter in law. If we take the meaning as wife, then this will contradict what Bhisma stated. “Let me surrender to Krsna whose mood was attained by the wives of the gopas during the rasa lila.” (sb 1.9.40) Bhisma did not say wives of Krsna. Thus Sanantana Goswami also does not interpret vadhu as wife in this verse. He describes vadhu as a golden complexioned woman who has taken complete shelter of Krsna, who is embraced by him as in the rasa lila, who is to be enjoyed only by him. Thus those gopis are described as vadhu, because they were similar to wives. This is explained in Vaisnava Tosini.

The gopis danced and danced (nrtyamana), or were honored by Krsna for dancing, and sang and sang, with their throats tinged with various ragas (rakta kantha). Ragas are explained in the Sanita Sara. “There are as many ragas as there are species of life. Among those ragas the sixteen thousands produced by the gopis are best.” They were attached to the affection showed by Krsna (rati priya). Being blissful because of the touch of Krsna, they did not feel any fatigue after dancing and dancing. The universe (idam) became filled (avrta) with this singing. Another meaning is “They were songs which even today all people of the universe sing.”

The svaras are born from the srutis. These seven svaras correspond to the cries of the peacock, cataka, goat, crane, cuckoo, stork and elephant. The jatis arising from the arrangement of svaras are eighteen. Jatis are the source of ragas. These jatis are to two types: pure and distorted. The sadja, arsabha, gandhara, madhyama, pancama, daivata and nisada jatis are called pure. When these are changed they are called distorted (vikrta).

Though they all sang, Krsna did not sing at the same time as the gopis (amisrita). Another meaning of amisrita is that the gopis sang with pure jatis, not mixed with others. Being the most excellent singers, the gopis sang only in pure form. In an outstanding manner one gopis performed alapa (improvisation). Seeing the gopi sing so skillfully, Krsna honored her by giving his yellow cloth and other things. It should be understood that this gopi was Visakha. The alapa of one song was performed with dhuva tala with great expertise. Krsna honored her with ornaments like rings, other ornaments and garlands. Revealing even more wonderful qualities, this person could only be Lalita. Seeing that the gopis were reluctant to bring the ragas and raginis they sung to even greater levels of beauty, Radha herself then sang. From this we can understand that among all the gopis she was endowed with most excellent and attractive of all qualities.

After indicating Lalita and Visakha through their excellent qualities of singing and dancing, the most prominent Sri Radha is indicated through a description of her good fortune. Gada bhrt refers to Krsna, as the person who held or encouraged discussions (gada) about the various merits of the two gopis singing. That gopi placed her right arm on Krsna’s shoulder. Her bracelets, ornaments and flowers in her hair all became loose. According to the characteristics mentioned in the scriptures, this gopi was the independent lover, the daughter of Vrsabhanu.

One gopi then kissed the arm placed on her shoulder (amsagata bahu) which was anointed with sandalwood. In spite of that sandalwood, she could smell the aroma of lotuses, the natural fragrance of Krsna’s body. It was more prominent than the sandalwood. Since this description is similar to verse 32.4, the gopi indicated is Syamala, a sakhi of Radha.

One gopi, whose cheeks shone because of the reflection of swinging earrings, touched her cheek to Krsna’s cheek out of fatigue. Krsna gave her some tambula chewed by himself, offering it to her as he kissed her. (pra = prakrsta in a a special way adhat he gave). This is Saibhya the gopi referred to in the last chapter, fifth verse.

One gopi singing and dancing, holding Krsna’s hand , placed it on her breast. In the last chapter two gopis are mentioned who held Krsna’s hand. Candravali held Krsna’s hand in hers (sb.10.32.4). Padma held Krsna’s feet on her breast (sb.10.32.5). Though there is a difference between holding Krsna’s hands and feet, in both cases the gopi held the hands or feet on her breast to relieve herself of the love pains in her breast. So the purpose of the action is the same. Thus the present verse can also refer to Padma. Though the eighth gopi is not mentioned here, she is mentioned in the Visnu Purana.

In this way, other gopis also , according to their individual inclinations, enjoyed with Krsna. The wives of Kaliya said that Lksmi performed penances to attain Krsna but could not attain him (sb 10.16.36). Uddhava also says that Laksmi could not get the same mercy as they gopis achieved. (sb10.47.60) The Brhad Bhagavatamrta says that Laksmi, seeing Krsna’s beauty, became attracted, performed penances, but could not attain him. From these verses it must be concluded that Laksmi did not attain Krsna. Therefore the phrase sriyah ekanta vallabha cannot mean “Krsna who was the dear lover of Laksmi.” Instead the meaning is as follows. The gopis, attaining Krsna, the most desirable (kanta), enjoyed with him, with their arms encircling his neck, just as Laksmi enjoys with Narayana, who holds her to his chest.

Or the phrase is acceptable if we understand that Krsna is one with Narayana, so therefore his is dearmost of Laksmi

After describing the beauty of the various elements of song and dance, the beauty of the gopis enhanced by the dancing is described. They had earrings (karna utpala), their locks of hair swayed with the movements of the dancing. Perspiration appeared on their foreheads. All of this intensified the beauty of their faces as they danced. The sound of their bangles and ankle bells surpassed the music of instruments. Instruments such as drums and flutes also were played. The presiding deities of the instruments all appeared there to make their lives successful. However the instruments sounded without anyone having to play them. The garlands tied in their hair loosened and fell to the ground, as if the hair arrangements, pleased with the skilful dance steps of the gopis, were throwing down flowers in appreciation of their feet.

All of these elements of song and dance also made the elements of Krnsa’s love play perfect. Embracing each gopi he danced with her. Touching the left breasts of the gopis with his right hand he counted the tala of the music on their breasts by tapping his fingers. He secretly glanced at all the gopis’ limbs as they danced. He kissed them on the pretext of satisifying them. After enjoying in these ways with the gopis, he then smiled.

Krsna is addressed as ramesa. This means he was master of all opulences. It can also mean Krsna, who is the enjoyer (ramana) of the gopis. As a foolish boy plays with his shadow, so Krsna enchanted by the gopis who had surrendered to prema, began to enjoy with them.

How could one person enjoy with thousands of gopis? The form of Krsna expanded into many, who then enjoyed (vbrahmah) with each gopi who was also his own form (bimba). The gopis were the hladini sakti, expansions of his svarupa. Similarly in 3.2.11. svabimba referes to Krsna’s own form, the prabhava prakasa. Therefore the meaning of the verse is: “Krsna expanding himself as prabhava prakasa, enjoyed with each of the gopis who were his own svarupa.” The phrase sva pratibimba cannot be explained in any other way. To say that bimba means shadow is inappropriate.

Enjoying with Krsna the gopis became full of bliss. Their senses disturbed by the bliss, they could not arrange their disheveled bodices, hair, cloth, garlands or ornaments.

The heavenly women became afflicted with love for Krsna (kamardita). The moon with the constellations became astonished. In one version karmardita is in the masculine form, modifying the moon, who is male. Thus the moon also took up the mood of a female and was filled with hankering for Krsna. Yogamaya had already covered the gopis limbs and the events of the rasa lila from the sight of males.

Then Krsna enjoyed with each gopi privately in a separate grove. He expanded himself into as many forms as there were gopis. Though his self satisfied (atma rama) he enjoyed with the gopis.

20.There are two versions of this verse. With tasam rati viharena means “being tired of enjoying acts of love with them.” With tasam ati viharena means “being tired by enjoying excessively with them.” Being tired, he gave up that play, and wiped their faces with his blissful hand. This statement also suggests that he applied sandalwood, placed cloth on their limbs, fanned them and offered betel nut.

All the independent gopis, decorated by Krsna with jeweled ornaments, emerged from their groves, met in one place and began to sing an auspicious song hinting at the end of the rasa festival. With gold earrings and locks of hair, with cheeks lit by the flashing of their earings, with sweet, smiling glances, overjoyed with the touch of his nails, they honored Krsna, the best of men (rsabha), and then began to sing of his atrractive (punyani) pastimes.

They began to play in the water after the rasa utsava just as after the soma sacrifice the sponsor and his wife take an avabhrta bath. In order to remove fatigue, Krsna, followed by bees who were the best of singers (gandharva palabhih), entered the waters of the Yamuna (vah) along with the gopis, whose bodies were stained with kumkuma from their breasts disarrayed by their lovemaking, whose garlands were crushed by the contact with Krsna’s limbs, just as an elephant enjoys with female elephants, and breaks all enclosures to do so. Bhinna setu can also refer to Krsna, who broke all conventions.

There are two versions premneksita glancing with prema, and premnoksita, moistened with prema. Being splashed with water by the loudly laughing gopis, who gazed at with love, or who moistened him with love, he, the treasure of pastimes (sva ratih), worshipped by showers of flowers from the devatas, enjoyed with them.

24.After enjoying in the water (tatah), and after (ca) drying their bodies, dressing in clothing and ornaments supplied by the vana devatas they entered countless groves on the bank of the Yamuna, for special pastimes. Those groves had wide horizons served by breezes carrying the aroma of flowers growing in the water. Surrounded by bees and by the possessors of prema, the gopis, Krsna, like an elephant exuding fluid from his temples in the mating season (mada cyuta), entered the groves.

In summarizing the rasa lila which occurred on the full moon night of the autumn season, it is here indicated that similar pastimes with the same variety and splendor on the other nights of the year..

Thus (evam), by the influence of yogamaya, he enjoyed the whole night, the night of brahma lit by the moon (siseve). He tasted the Vrndavana nights with his pastimes. The implication of the word siseve from the root sev (serve) is that all the nights which were suitable for the rasa lila, were to be enjoyed or served in the most respectful way, what to speak of the pastimes of rasa that occurred during those nights. This is similar to the expression “the devotees enjoyed or honored mahaprasadam.” Because the pastimes involving love (kama) were not material, Krsna is called satya kama. Satya means the form of absolute truth and kama means the pastimes of love. Krsna was endowed with pastimes of love which are the absolute truth, the source of all pure love. And though he is the source of a loving enjoyment, he made the gopis the cause of that enjoyment. Thus, Krsna is described as anurata abalaganah, one who followed after the pleasure of the gopis. Though he is the cause of pleasure, he was attracted to the gopis for pleasure. The word abala also suggests that the gopis were unmatched in their power to express love. At that time, Krsna’s mind was completely absorbed in his pastimes of rasa. Therefore he is described as atmani avaruddha saurata,. one whose mind (atma) was absorbed completely in everything related to conjugal activity(saurata) –that is, emotions, gesture, indifference, insults, vyabhicari bhavas like perverseness, eagerness and joy, sattvika bhavas such as being stunned, sweating, change of color, anubhavas like, seeing, touching, talking, and embracing. The same usage of the word saurta, indicating all the various elements of conjugal love, appears in the following verse. “The son of Devaki, though he is atma rama, in imitation of a human being, began to enjoy with Rukmini with saurata samlapa, talks and all the elements of conjugal expression. The word samlapa included there is descriptive of the enjoyment. The word saurata is devoid of descriptive element, except to indicate all the other expressions and emotions involved in conjugal relationships.

On all the nights of twelve months (sarva) he enjoyed. What kind of night? sarat kavya rasasraya. Sarat can mean a year as well as autumn, according to Amara Kosa. Thus they were nights endowed with all six seasons, of which all rasa expressed in poetic works take shelter. Poets like Vyasa Parasara, Jayadeva, Lila suka, Govardhanacarya and Rupa Goswami, taking shelter of (been inspired by) those nights, have described the rasa and activities principally of conjugal love(srngara), which cannot be fully understood. Because I am unable to describe these affairs completely, I have given here only a synopsis.

Seeing the doubt in the hearts of karmis and jnanis contaminated with various desires at that assembly, Pariksit raised a question. “In order to establish dharma and destroy adharma, svayam bhagavn, whose expansion is Visnu (amsena jagat isvara), has appeared. Or svayam bhavagan has appeared with his amsa, Balarama. How then can he perform acts contrary to dharma (pratipam). If you say that because he is the independent lord he can do what is contrary to dharma, then he should also accept the sinful reaction, just as he sometimes gets cursed and accepts the result.”

“If you argue that for the Supreme Lord there is no adharma, what would be his purpose in performing such abominable acts? One cannot answer that he does so to fulfill his desires, because his desires are already fulfilled (aptakamah).”

“But in this avatara he must do these condemned activities.”

“Then how could he be the head of the Yadus who follow the highest dharma? This is not only my doubt but the doubt of many people. It is our (nah) doubt. That the lord, though he is apta kama and atma rama, enjoyed enthusiastically with the gopis, who were the very form prema and bliss, is a very deep concept. Not understanding, doubts will arise among people. Though you are deeply committed to proper conduct (suvrata), you have become extremely involved with the lilas involving such condemned conduct. From this also doubt arises.”

Though the demigods commit adharma, they do not receive the reactions for that. What then to speak of the Supreme Lord? In this verse Sukadeva answers Pariksit’s first question in six verses. Though personalities such as Rudra (isvaranam) commit adharama (dharma vyatikramah) out of rashness(sahasa), they do not need to atone for those acts.

30.The objection would be: “If the devatas commit adharma then others, following the principle of whatever great men do others will follow, will also commit acts of adharma.”

The answer is: “The lowly jiva, seeing the acts of the devas, should not even think of committing sinful acts. Doing so brings their destruction, just as any person other than Siva who attempts to drink halahala poison will immediately die. On the other hand, when Siva drinks the poison, he becomes more beautiful with a blue throat.”

“Then in what circumstances should the rule that whatever the great man does others should follow apply?”

“The instructions of the devas or great personalities are always auspicious for the devotees to follow. When the Lord performs pastimes as Rama, one should follow his instructions. One should perform only those acts which do not contradict the orders given by the devas or great persons. But even those instructions should be approved by scriptures. Then one can act, otherwise not. The intelligent person will conduct himself in this way. Krsna gave the order “Kill Asvatthama, who has killed your small children, in the night.” (sb1.7.35) But Arjuna did not follow the instructions of Krsna to kill Asvatthama. Krsna has also instructed that one should not kill a brahmana even if he is sinful. Another instruction is that one should kill a person armed to kill others. Asvatthama was still a brahmana, and he was not armed to kill. Therefore he should not be killed. That was the opinion of Krsna in the form of scripture. Therefore Krsna’s order to Arjuna was simply a test of his religious principles.

As the devatas are not at fault for trespassing dharma, then what to speak of Krsna?

Even the devotees of the Lord are not bound by dharma and adharma. The devotees of the Lord, satisfied with serving exclusively the dust of his lotus feet, by the power of bhakti yoga (yoga), become liberated from the bondage of karma, and wander about freely. What is the question of bondage for the Lord of those devotees, who accepted the bodies of others wives by his unrestricted free will (iccayatta vapusah)?

After considering that Krsna had no fault in embracing others wives, this verse points out that there is no one superior to Krsna who pervades everywhere. Where is the fault of embracing the gopis externally when he is constantly enjoying with them in their hearts? What is the fault of Krsna in seeing the external bodies of the gopis when he is seeing constantly their mind and intelligence (adhyaksa) which are internal? What is the fault of Krsna who served the bodies of the gopis (deha bhak) by various playful gestures such as wiping away their perspiration after the fatigue of rasa lila (kridanena)?

This verse answers the second question “What is the goal of doing forbidden activities?” He acted in this way to show mercy to his devotees. Hearing about these activities, the jivas taking shelter of human bodies become believers in these topics. Thus it should be understood that the sweet rasa lila, incomparable to any other lila, like a powerful medicine of mantras and jewels, has indisputably great power, and the chief qualification for this bhakti involving madhurya rasa, this medicine, is to have a human body.

37.”When Krsna enjoyed with the gopis on all nights of the year, not seeing their wives present, how is it that they did not become angry with Krsna?”

It was by the influence of Yogamaya, not the material maha maya, that this could happen. Material maya has no jurisdiction over the intimate devotees of the Lord. Those bewildered by the material maya are all opposed to the Lord, whereas the gopis of Vraja had not a particle of opposition to the Lord. This yogamaya created as many exact copies of the gopis as there were gopis who went to meet Krsna, and showed these to the cowherd men. In other words, the cowherd men all thought that their wives were by their sides.

In connection to this, Ujjvala Nilamani says, “Those copies of the cowherd women created by Yogamaya did not have any sexual contact with their husbands.” As Yogamaya is a spiritual energy, her effects must all be eternal and spiritual. As there was a complete absence of material maya, the created gopis at the side of their husbands though playing the roles of wives, were actual all spiritual entities. Yet playing this role of wives was their perfection (acting out the will of yogamaya). As all these gopis created by Yogamaya should not have sexual relationship with their husbands, they remained in separate beds or in separate rooms. Yogamaya completed her work by making the husbands have notdesire to associate intimately with their wives. When the real gopis left Krsna and returned home, as they each returned home, Yogamaya made the created gopis disappear.

When the duration of Brahma’s night (one thousand yuga cycles) passed, the gopis returned home to their houses. Because Krsna, whose every desire is fulfilled, desired that the pastimes of one night should extend up to one night of Brahma, the time it took to complete the singing and dancing pastimes he desired to enjoy on a particular occasion filled up one thousand yuga cycles. But this one thousand yuga cycles also fit within the duration of the four praharas of human calculation at the place of the rasa dance, just as within one small area of Vrndavana which spreads for five yojanas Brahma saw the universe which measures five hundred koti yojana, during the pastime of stealing the cows. Similarly, it took unlimited length of rope to bind up the small waist of the small child Krsna, and yet within that small child resided the whole universe. Therefore one should not think that the such duration of time for the rasa lila was impossible. In the Brhad Bhagavatamrta it is said, “Since Krsna, his gopis, the dhama and its time all possess inconceivable powers, nothing is impossible for them.” In order to keep the gopis’ love secret, for perfecting those pastimes of the rasa, Krnsa, the son of Nanda, who is visuddha sattva (vasudeva), permitted the gopis to return home. In other words, the presiding deity of the heart, Vasudeva, sent them home, by giving them thoughts of fear and embarrassment before their elders.

The result of hearing and chanting the glories of the rasa, which is the crown jewel of all pastimes, is also the crown jewel of all results. One who hears continuously (anusrnuyat) and glorifies or writes in poetry (varnayet) this autumn rasa lila (idam) and other similar pastimes, and other pastimes described elsewhere by other poets (ca) of Krsna, who spread himself out among all the gopis (Visnu, one who pervades), attains the first appearance of prema even within his condition of having material desire. By the influence of prema however quickly the material desire is destroyed. Thus it is understood here that this prema is not weak or dependent, like jnana yoga. It is independent.

Here hrt roga refers to material desire. When the word is used in relation to the Lord, however, such meaning is excluded. The kama in relation to Krsna is prema, and has opposite effect to the material kama. The person who hears and glorifies the rasa is described as learned (dhira). If material kama is present, how can prema appear? In that person who is devoid of foolishness, who accepts scripture (dhira), who is full of faith, prema can appear. Prema does not accept those who have no faith in the Lord or who are offenders to the Holy Name.