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Dancing (Other Books)

Other Books by Srila Prabhupada

Teachings of Lord Caitanya

Teachings of Lord Caitanya, Chapter Intoduction:

To learn how Kṛṣṇa enjoys pleasure, we must study the first nine cantos of Śrīmad-Bhāgavatam, and then we should study the Tenth Canto, in which Kṛṣṇa's pleasure potency is displayed in His pastimes with Rādhārāṇī and the damsels of Vraja. Unfortunately, unintelligent people turn at once to the sports of Kṛṣṇa in the Daśama-skandha, the Tenth Canto. Kṛṣṇa's embracing Rādhārāṇī or His dancing with the cowherd girls in the rāsa dance are generally not understood by ordinary men, because they consider these pastimes in the light of mundane lust. They foolishly think that Kṛṣṇa is like themselves and that He embraces the gopīs just as an ordinary man embraces a young girl. Some people thus become interested in Kṛṣṇa because they think that His religion allows indulgence in sex. This is not kṛṣṇa-bhakti, love of Kṛṣṇa, but prākṛta-sahajiyā—materialistic lust.

Teachings of Lord Caitanya, Chapter Intoduction:

Thus Kṛṣṇadāsa Kavirāja Gosvāmī considered the Vṛndāvana in India to be as good as the Vṛndāvana in the spiritual sky, and in the sixteenth verse of the Caitanya-caritāmṛta he describes Rādhārāṇī and Kṛṣṇa as seated beneath a wish-fulfilling tree in Vṛndāvana, on a throne decorated with valuable jewels. There Kṛṣṇa's dear gopīfriends serve Rādhā and Kṛṣṇa by singing, dancing, offering betel nuts and refreshments, and decorating Their Lordships with flowers. Even today in India people decorate swinging thrones and re-create this scene during the month of July–August. Generally at that time people go to Vṛndāvana to offer their respects to the Deities there.

Finally Kṛṣṇadāsa Kavirāja Gosvāmī offers his blessings to his readers in the name of the Gopīnātha Deity, who is Kṛṣṇa as master and proprietor of the gopīs. When Kṛṣṇa played upon His flute, all the gopīs, or cowherd girls, were attracted by the sound and left their household duties, and when they came to Him, He danced with them. These activities are all described in the Tenth Canto of Śrīmad-Bhāgavatam. These gopīs were childhood friends of Kṛṣṇa, and many were married, for in India the girls are generally married by the age of twelve. The boys, however, are not married before eighteen, so Kṛṣṇa, who was fifteen or sixteen at the time, was not married. Nonetheless, He called these girls from their homes and invited them to dance with Him. That dance is called the rāsa-līlā dance, and it is the most elevated of all the Vṛndāvana pastimes. Kṛṣṇa is therefore called Gopīnātha because He is the beloved master of the gopīs.

Teachings of Lord Caitanya, Chapter 1:

The two brothers, Rūpa Gosvāmī and Vallabha, stayed aloof in an uncrowded place and witnessed the great crowd and wonderful scene. When the Lord danced, He raised His arms and shouted, "Haribol! Haribol!" The people all about Him were astonished to see His activities. Indeed, the wonderful scene is difficult to describe.

Teachings of Lord Caitanya, Chapter 1:

The highest stage of ecstasy is characterized by the following thirteen transcendental activities: (1) dancing, (2) rolling on the floor, (3) singing, (4) clapping, (5) stretching the body, (6) thundering, (7) yawning, (8) breathing heavily, (9) forgetting social conventions, (10) drooling, (11) laughing, (12) shaking the head, and (13) hiccoughing. All these symptoms are not awakened simultaneously; they appear according to the exchange of transcendental mellows. Sometimes one symptom is prominent, and at another time another is prominent.

Teachings of Lord Caitanya, Chapter 1:

Regarding the gopīs' dealings with Śrī Kṛṣṇa in Vṛndāvana, Śrīmad-Bhāgavatam 10.30.36–38 describes how when Śrī Kṛṣṇa took Śrīmatī Rādhikā alone from the rāsa dance, She proudly thought, "My dear Lord Kṛṣṇa has left the other gopīs, although they are as beautiful as I am, and He is satisfied with Me alone." In the forest She told Kṛṣṇa, "My dear Kṛṣṇa, I am unable to move anymore. Now if You like You can take Me wherever You desire." Kṛṣṇa replied, "You can climb on My shoulder," but as soon as He said this He disappeared, whereupon Śrīmatī Rādhikārepented very much.

When Kṛṣṇa disappeared from the scene of the rāsa dance, all the gopīs began to repent, saying, "Dear Kṛṣṇa! We have come here and left aside our husbands, sons, relatives, brothers and friends! Neglecting their advice, we have come to You, and You know very well the reason for our coming here. You know that we have come because we are captivated by the sweet sound of Your flute. But You are so cunning that in the dead of night You have left girls and women like us! This is not very good of You."

Teachings of Lord Caitanya, Chapter 6:

The personal form of Kṛṣṇa can be divided into two: svayaṁ-rūpa and svayaṁ-prakāśa. As far as His svayaṁ-rūpa (or pastime form) is concerned, it is in that form that He remains always in Vṛndāvana with the inhabitants of Vṛndāvana. This personal form (svayaṁ-rūpa) can be further divided into the prābhava and vaibhava forms. For example, Kṛṣṇa expanded Himself in multiple forms during the rāsa dance in order to dance with each and every gopī who took part in that dance. Similarly, He expanded himself into 16,108 forms in Dvārakā when he married 16,108 wives. There are some instances of great mystics' expanding their bodily forms by the yoga process, but Kṛṣṇa did not expand Himself in that way. In Vedic history, Saubhari Ṛṣi expanded himself into eight forms by the yoga process, but those expansions were simply reflections, for Saubhari remained one. But when Kṛṣṇa manifested Himself in different forms, each and every one of them was a separate individual. When Nārada Muni visited Kṛṣṇa at His different palaces in Dvārakā, he was astonished at this, and yet Nārada is never astonished to see the expansions of a yogīs body, since he knows the trick himself.

Teachings of Lord Caitanya, Chapter 8:

After describing the śaktyāveśa incarnations, Caitanya Mahāprabhu began to speak about the age of the Supreme Lord. He said that the Supreme Lord Kṛṣṇa is always like a sixteen-year-old boy, and when He desires to descend to this universe He first sends His father and mother, who are His devotees, and then He Himself appears. All His activities—beginning with the killing of the Pūtanā demon—are displayed in innumerable universes, and there is no limit to them. Indeed, at every moment, at every second, His manifestations and various pastimes are seen in different universes (brahmāṇḍas). Thus His activities are just like the waves of the Ganges River. Just as there is no limit to the flowing of the waves of the Ganges, there is no cessation of various features of Lord Kṛṣṇa's pastimes in different universes. From childhood He displays many pastimes, and ultimately He exhibits the rāsa dance.

Teachings of Lord Caitanya, Chapter 9:

From the revealed scriptures it is understood that Kṛṣṇa lives in three transcendental places. His most confidential residence is Goloka Vṛndāvana. It is there that He stays with His father, mother and friends, exhibits His transcendental relationships and bestows His mercy upon His eternal entourage. There Yogamāyāacts as His maidservant in the rāsa-līlā dance. The residents of Vrajabhūmi think, "The Lord is glorified by particles of His transcendental mercy and affection, and due to His merciful existence we, the residents of Vṛndāvana, have not the slightest anxiety." As stated in the Brahma-saṁhitā (5.43), in the spiritual sky all the Vaikuṇṭha planets (which make up Viṣṇuloka) are below the planet known as Kṛṣṇaloka, Goloka Vṛndāvana. On that supreme planet the Lord enjoys His transcendental bliss in multiple forms, and all the opulences of the Vaikuṇṭhas are fully displayed on that one planet. Like Kṛṣṇa, His associates are also full with six opulences. In the Padma Purāṇa (Uttara-khaṇḍa 255.57) it is stated that the material energy and the spiritual energy are separated by the Virajā River. That river flows from the perspiration of the first puruṣa incarnation. On the far bank of the Virajā is the eternal nature, unlimited and all-blissful, called the spiritual sky, the spiritual kingdom, or the kingdom of God.

Teachings of Lord Caitanya, Chapter 9:

Among Kṛṣṇa's innumerable pastimes, however, the most important are His humanlike activities—frolicking in Vṛndāvana, dancing with the gopīs, playing with the Pāṇḍavas on the Battlefield of Kurukṣetra and playing in Mathurā and Dvārakā. And His most important pastimes in the human form are those in which He appears as a cowherd boy, a newly grown youth who plays a flute. Just a partial manifestation of His pastimes in Goloka—in Gokula, Mathurā and Dvārāvatī, or Dvārakā—can overflood the whole universe with love of Godhead. Everyone can be attracted by the beautiful qualities of Kṛṣṇa.

Teachings of Lord Caitanya, Chapter 10:

Kṛṣṇa is known as Madana-mohana because He conquers the mind of Cupid. He is also known as Madana-mohana due to His bestowing favors upon the damsels of Vraja and accepting their devotional service. After conquering Cupid's pride, the Lord engages in the rāsa dance as the new Cupid. He is also known as Madana-mohana because of His ability to conquer the minds of women with His five arrows of form, taste, smell, sound and touch. The pearls of the necklace hanging on Kṛṣṇa's neck are as white as ducks, and the peacock feather decorating His head is colored like a rainbow. His yellow garment is like lightning in the sky, and Kṛṣṇa Himself is like a newly arrived cloud. The gopīs are like food grains in the field, and when the cloud pours rain on those grains, it appears that Kṛṣṇa is nourishing the hearts of the gopīs by calling down His pastime rain of mercy. Indeed, ducks fly in the sky during the rainy season, and rainbows can also be seen at that time. Kṛṣṇa freely moves among His friends as a cowherd boy in Vṛndāvana, and when He plays His flute, all living creatures, mobile and immobile, are overwhelmed with ecstasy. They quiver, and tears flow from their eyes.

Teachings of Lord Caitanya, Chapter 10:

The dancing movement of Kṛṣṇa's earrings, eyes and eyebrows is very attractive to the damsels of Vraja. Activities in devotional service increase the sense of devotional service. What else is there for two eyes to see beyond the face of Kṛṣṇa? Since one cannot sufficiently see Kṛṣṇa with only two eyes, one feels incapable and thus becomes bereaved. Such bereavement is slightly reduced when one criticizes the creative power of the creator. The unsatiated seer of Kṛṣṇa's face thus laments: "I do not have thousands of eyes but only two, and even these two eyes are disturbed by the movements of my eyelids. So it is to be understood that the creator of this body is not very intelligent. He is not conversant with the art of ecstasy but is simply a prosaic creator. He does not know how to arrange things properly so one can see only Kṛṣṇa."

Teachings of Lord Caitanya, Chapter 13:

When a person engaged in devotional service in love of God sings the glories of the Supreme Lord, his heart melts. Because the Lord is very dear to him, when he glorifies the Lord's name, fame and so on, he becomes almost like an insane man, and in that condition he sometimes laughs, sometimes cries and sometimes dances. He continues in this way without even considering his situation. By gradually developing his love of Godhead, he increases his affection, his emotion and his ecstasy. The culmination of such attachment is mahābhāva, the highest stage of devotional love. It may be likened to rock candy, which is the most concentrated form of sugar. As it is concentrated, sugar cane juice goes through different stages—molasses, sugar, sugar candy—but the final and most palatable state is rock candy. Similarly, love of Godhead can gradually develop in such a way that transcendental pleasure is increased to the highest stage for the real devotee.

Teachings of Lord Caitanya, Chapter 14:

In the attitude of anubhāva, one dances and sometimes falls down, sometimes sings loudly, shows convulsions, yawns and sometimes breathes very heavily—all without concern for circumstances.

The external features exhibited on the bodies of devotees are called udbhāsvara. The vyabhicārī symptoms are thirty-three in number, and they primarily involve words uttered by the devotee and various bodily features. Different bodily features—such as dancing, trembling and laughing—sometimes mix with the vyabhicārī symptoms, which are also called sañcārī. When bhāva, anubhāva and vyabhicārī symptoms are combined, they make the devotee dive into the ocean of immortality. That ocean is called the bhakti-rasāmṛta-sindhu, the ocean of the pure nectar of devotional service, and one who is merged in that ocean is always rapt in transcendental pleasure on the waves and sounds of that ocean.

Teachings of Lord Caitanya, Chapter 14:

When Lord Caitanya finished His instructions to Śrī Sanātana Gosvāmī, Sanātana, being empowered and enlightened, was so transcendentally pleased that he at once fell at the feet of Lord Caitanya and said, "I was born in a very low family, and I have always associated with lowly people; therefore I am the lowest of sinners. Yet You are so kind that You have taught me lessons which are not even understood by Lord Brahmā, the greatest being in this universe. By Your grace I have appreciated the conclusions which You have taught me, but I am so low that I cannot even touch a drop of the ocean of Your instructions. Thus if You want me, who am nothing but a lame man, to dance, then please give me Your benediction by placing Your feet on my head."

Teachings of Lord Caitanya, Chapter 16:

The hunter received the two great sages at his home and offered them a sitting place, brought water, and washed their feet. Then the hunter and his wife took some of the water and drank it, and finally they both sprinkled the water on their heads. After this they felt ecstasy and began to dance while singing Hare Kṛṣṇa, Hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa, Hare Hare/ Hare Rāma, Hare Rāma, Rāma Rāma, Hare Hare. They raised their hands and danced with their clothes flying. When the two great sages saw this ecstasy of love of Godhead manifest in the body of the hunter, Parvata Muni told Nārada: "You are a touchstone, for by your association even a great hunter has turned into a great devotee."

Teachings of Lord Caitanya, Chapter 19:

Lord Caitanya said that His spiritual master told Him: "It is very good that You have attained such a perfectional stage of love of Godhead. Because of Your attainment, I am very much obliged to You." The father becomes enlivened when he sees his son advance beyond himself. Similarly, the spiritual master takes more pleasure in seeing his disciple advance than in advancing himself. Thus Lord Caitanya's spiritual master blessed Him, telling Him: "Dance, sing, propagate this saṅkīrtana movement and, by instructing people about Kṛṣṇa, try to deliver them from nescience." Lord Caitanya's spiritual master also taught Him the following very nice verse from Śrīmad-Bhāgavatam (11.2.40):

evaṁ-vrataḥ sva-priya-nāma-kīrtyā
jātānurāgo druta-citta uccaiḥ
hasaty atho roditi rauti gāyaty
unmāda-van nṛtyati loka-bāhyaḥ
Teachings of Lord Caitanya, Chapter 23:

Unscrupulous persons go at once to the Tenth Canto, especially to the five chapters in which Śrīla Vyāsadeva has kindly described the Lord's rāsa dance. However, this portion of Śrīmad-Bhāgavatam is the most confidential part of that great literature. Unless one is thoroughly accomplished in the transcendental knowledge of the Lord, one is sure to misunderstand the Lord's worshipable transcendental pastimes in the rāsa dance and His loving dealings with the gopīs. This subject matter is highly spiritual and technical, and only liberated personalities who have gradually attained the stage of paramahaṁsa can transcendentally relish the worshipable rāsa dance.

Teachings of Lord Caitanya, Chapter 26:

It is said that at this time Sārvabhauma Bhaṭṭācārya composed a hundred verses in appreciation of the Lord's activities, and that those verses were so great that they could not be surpassed even by Bṛhaspati, the greatest learned scholar in the heavenly planets. The Lord was very much pleased to hear these hundred verses, and He embraced the Bhaṭṭācārya. The Bhaṭṭācārya became overwhelmed with ecstasy by the Lord's touch, and he practically fell unconscious. He cried, trembled, shivered and perspired, and sometimes he danced and sang and fell at the lotus feet of Lord Caitanya. The Bhaṭṭācārya's brother-in-law, Gopīnātha Ācārya, and the devotees of the Lord were surprised to see the Bhaṭṭācārya transformed into a great devotee.

Teachings of Lord Caitanya, Chapter 26:

Lord Caitanya was very much pleased to see that the Bhaṭṭācārya, who had always obeyed the rules and regulations strictly, accepted prasādam without following any rules and regulations. Being so pleased, Lord Caitanya embraced the Bhaṭṭācārya, and they both began to dance in transcendental ecstasy. In that ecstasy Lord Caitanya exclaimed, "My mission in Jagannātha Purī is now fulfilled! I have converted a person like Sārvabhauma Bhaṭṭācārya. I shall now be able to attain Vaikuṇṭha without fail."

Teachings of Lord Caitanya, Chapter 26:

After this incident, Lord Caitanya returned to His place, and the Bhaṭṭācārya became a pure and faultless devotee. Since he had formerly been a great academic scholar, the Bhaṭṭācārya could only have been converted by the causeless mercy of Caitanya Mahāprabhu. From that day forward the Bhaṭṭācārya never explained any Vedic literature without explaining devotional service. Gopīnātha Ācārya, his brother-in-law, was very much pleased to see the Bhaṭṭācārya's condition, and he began to dance in ecstasy and vibrate the transcendental sound Hare Kṛṣṇa, Hare Kṛṣṇa, Kṛṣṇa Kṛṣṇa, Hare Hare/ Hare Rāma, Hare Rāma, Rāma Rāma, Hare Hare.

Teachings of Lord Caitanya, Chapter 29:

Lord Caitanya then asked Rāmānanda Rāya to proceed further in order to come to the point of conjugal love. Understanding the mind of Lord Caitanya, Rāmānanda Rāya immediately answered that it was indeed conjugal love with Kṛṣṇa that constituted the highest relationship. In other words, one's intimate relationship with Kṛṣṇa develops from an ordinary conception of the Supreme Personality of Godhead, to the conception of master and servant, and, when this becomes confidential, it develops into a friendly relationship, and when this relationship further develops, it becomes parental, and when this develops to the highest point of complete love and affection, it is known as conjugal love with the Supreme Personality of Godhead. Rāmānanda Rāya then quoted another verse from Śrīmad-Bhāgavatam (10.47.60), which states that the transcendental mode of ecstasy exhibited during the rāsa dance between the gopīs and Kṛṣṇa was never relished even by the goddess of fortune, who is always situated on the chest of the Lord in the spiritual kingdom. And what to speak of the experience of ordinary women?

Teachings of Lord Caitanya, Chapter 30:

When Lord Caitanya heard Rāmānanda Rāya speak of the loving affairs between Kṛṣṇa and Rādhārāṇī, He said, "Please go further. Go on and on." The Lord also said that He was enjoying with great relish the descriptions of the loving affairs between Kṛṣṇa and the gopīs. "It is as if a river of nectar is flowing from your lips," He said. Rāmānanda Rāya continued by saying that when Kṛṣṇa danced among the gopīs He thought, "I am not giving any special attention to Rādhārāṇī." Because among the other gopīs Rādhārāṇī was not so much an object of special love, Kṛṣṇa stole Her away from the arena of the rāsa dance and showed Her special favor.

After explaining this to Lord Caitanya, Rāmānanda Rāya said, "Now let us relish the transcendental loving affairs between Kṛṣṇa and Rādhā. These have no comparison in this material world." Thus Rāmānanda Rāya continued by saying that during the rāsa dance Rādhārāṇī suddenly left the arena, as if She were angry that no special favor was being shown Her. Kṛṣṇa was desirous of seeing Rādhārāṇī in order to fulfill the purpose of the rāsa dance, but not seeing Rādhārāṇī there, He became very sorrowful and went to search Her out. In the Gīta-govinda there is a nice verse which states that Kṛṣṇa, the enemy of Kaṁsa, wanted to be entangled in loving affairs with women and thus simply took Rādhārāṇīinto His heart and left the company of the other damsels of Vraja.

Teachings of Lord Caitanya, Chapter 30:

Rāmānanda Rāya pointed out that one who discusses the purport of these two special verses of the Gīta-govinda (3.1–2) can relish the highest nectar of Rādhā and Kṛṣṇa's loving affairs. Although there were many gopīs to dance with, Kṛṣṇa especially wanted to dance with Rādhārāṇī. In the rāsa dance Kṛṣṇa expanded Himself and placed Himself between every two gopīs, but He was especially present with Rādhārāṇī. However, Rādhārāṇī was not pleased with Kṛṣṇa's behavior. As described in the Ujjvala-nīlamaṇi: "The path of loving affairs is just like the movement of a snake. Among young lovers, there are two kinds of mentality—causeless and causal." Thus when Rādhārāṇī left the arena of the rāsa dance out of anger at not receiving special treatment, Kṛṣṇa became very sad because He could not see Her among the other gopīs. The perfection of the rāsa dance was considered complete due to Rādhārāṇī’s presence, and in Her absence Kṛṣṇa considered the dance to be disrupted. Therefore He left the arena to search Her out. When He could not find Rādhārāṇī after wandering in several places, He became very distressed. Thus it is understood that Kṛṣṇa could not enjoy His pleasure potency even in the midst of all the other gopīs. But in the presence of Rādhārāṇī He was satisfied.

Teachings of Lord Caitanya, Chapter 31:

"Because You are asking me to speak of the pastimes of Rādhā and Kṛṣṇa," Rāmānanda Rāya humbly submitted, "I will obey Your order. I will speak in whatever way You like." Thus Rāmānanda Rāya humbly submitted himself as a puppet before Lord Caitanya, the puppet master. He only wanted to dance according to the will of Caitanya Mahāprabhu. He compared his tongue to a stringed instrument, saying, "You are the player of that instrument." Thus as Lord Caitanya would play, Rāmānanda Rāya would vibrate the sound.

Teachings of Lord Caitanya, Chapter 31:

In the Brahma-saṁhitā the transcendental land of Vṛndāvana is described as being always spiritual. That spiritual land is populated by goddesses of fortune, who are known as gopīs. These are all beloved of Kṛṣṇa, and Kṛṣṇa is the only lover of all those gopīs. The trees of that land are all desire trees: you can have anything you want from any tree. The land is made of touchstone and the water is nectar. In that land all speech is song, all walking is dancing, and the constant companion is the flute. Everything is self-illuminated, just like the sun and moon in this material world. The human form of life is meant for understanding this transcendental land of Vṛndāvana, and one who is fortunate should cultivate knowledge of Vṛndāvana and its residents. In that supreme abode of Kṛṣṇa are surabhi cows who overflood the land with milk. Since not even a moment there is misused, there is no past, present or future.

Teachings of Lord Caitanya, Chapter 32:

Thus Rāmānanda Rāya and Caitanya Mahāprabhu talked for the entire night. They sometimes danced, sometimes sang and sometimes cried. After they had passed the night in this way, at dawn Rāmānanda Rāya returned to his place. The next evening he returned to see Caitanya Mahāprabhu. After discussing Kṛṣṇa for some time, Rāmānanda Rāya fell at the feet of the Lord and said, "My dear Lord, You are so kind to me that You have taught me about the science of Kṛṣṇa, the science of Rādhārāṇī, the science of Their loving affairs, the science of Their rāsa dance, and the science of Their pastimes. I never thought that I should be able to speak on these subject matters. You have taught me as You formerly taught the Vedas to Brahmā."

Nectar of Devotion

Nectar of Devotion 1:

For example, a Kṛṣṇa conscious boy, even if he is not very well educated by the university standard, can immediately give up all illicit sex life, gambling, meat-eating and intoxication, whereas those who are not in Kṛṣṇa consciousness, although very highly educated, are often drunkards, meat-eaters, sexmongers and gamblers. These are practical proofs of how a Kṛṣṇa conscious person becomes highly developed in good qualities, whereas a person who is not in Kṛṣṇa consciousness cannot do so. We experience that even a young boy in Kṛṣṇa consciousness is unattached to cinemas, nightclubs, naked dance shows, restaurants, liquor shops, etc. He becomes completely freed. He saves his valuable time from being extravagantly spent in the way of smoking, drinking, attending the theater and dancing.

Nectar of Devotion 9:

In the Dvārakā-māhātmya the importance of dancing before the Deity is stated by Lord Kṛṣṇa as follows: "A person who is in a jubilant spirit, who feels profound devotional ecstasy while dancing before Me, and who manifests different features of bodily expression can burn away all the accumulated sinful reactions he has stocked up for many, many thousands of years." In the same book there is a statement by Nārada wherein he asserts, "From the body of any person who claps and dances before the Deity, showing manifestations of ecstasy, all the birds of sinful activities fly away upward." Just as by clapping the hands one can cause many birds to fly away, similarly the birds of all sinful activities which are sitting on the body can be made to fly away simply by dancing and clapping before the Deity of Kṛṣṇa.

Nectar of Devotion 13:

This will save everyone from such unwanted activities as going to clubs, cinemas and dancing parties, and smoking, drinking, etc. All such nonsense will be forgotten if one stresses the worship of the Deities at home.

Rūpa Gosvāmī further writes, "My dear foolish friend, I think that you have already heard some of the auspicious Śrīmad-Bhāgavatam, which decries seeking the results of fruitive activities, economic development and liberation. I think that now it is certain that gradually the verses of the Tenth Canto of Śrīmad-Bhāgavatam, describing the pastimes of the Lord, will enter your ears and go into your heart."

In the beginning of Śrīmad-Bhāgavatam it is said that unless one has the ability to throw out, just like garbage, the fruitive results of ritualistic ceremonies, economic development and becoming one with the Supreme (or salvation), one cannot understand Śrīmad-Bhāgavatam. The Bhāgavatam deals exclusively with devotional service. Only one who studies Śrīmad-Bhāgavatam in the spirit of renunciation can understand the pastimes of the Lord which are described in the Tenth Canto. In other words, one should not try to understand the topics of the Tenth Canto, such as the rāsa-līlā (love dance), unless he has spontaneous attraction for Śrīmad-Bhāgavatam. One must be situated in pure devotional service before he can relish Śrīmad-Bhāgavatam as it is.

Nectar of Devotion 17:

In the Padma Purāṇa there is the story of a neophyte devotee who, in order to raise herself to the ecstatic platform, danced all night to invoke the Lord's grace upon her.

Sometimes, however, it is found that without undergoing any devotional process, one all of a sudden develops devotion for Lord Kṛṣṇa. This sudden development of the devotional attitude in a person must be understood as a special mercy of Kṛṣṇa or of His devotee. This apparently accidental development of ecstatic feelings through the causeless mercy of Kṛṣṇa can be divided into three groups: simply by speaking, simply by glancing and simply by good wishes.

Nectar of Devotion 21:

One who can talk and dress himself very artistically is called vidagdha. This exemplary characteristic was visible in the personality of Śrī Kṛṣṇa. It is spoken of by Rādhārāṇī as follows: "My dear friend, just see how Kṛṣṇa has nicely composed songs and how He dances and speaks funny words and plays on His flute, wearing such nice garlands. He has dressed Himself in such an enchanting way, as though He had defeated all kinds of players at the chessboard. He lives wonderfully at the topmost height of artistic craftsmanship."

Nectar of Devotion 21:

Formerly, fighting was done by releasing different kinds of arrows. One party would release a certain arrow, and the other party had to defeat it by counteracting it with another arrow. For example, one party might release an arrow which would cause water to pour from the sky, and to counteract this the opposing party would have to release an arrow which could immediately turn the water into clouds. So from this statement it appears that Kṛṣṇa was very expert in counteracting the enemy's arrows. Similarly, at the rāsa dance, each and every gopī requested that Kṛṣṇa individually become her partner, and Kṛṣṇa immediately expanded Himself into so many Kṛṣṇas in order to be coupled with each and every gopī. The result was that each gopī found Kṛṣṇa by her side.

Nectar of Devotion 21:

Kṛṣṇa was very expert in dealing with people according to circumstances, country, time and paraphernalia. How He could take advantage of a particular time, circumstance and person is expressed by Him while talking to Uddhava about His rāsa dance with the gopīs. He says, "The most opportune time is the full-moon night in autumn, like tonight. The best place within the universe is Vṛndāvana, and the most beautiful girls are the gopīs. So, My dear friend Uddhava, I think I should now take advantage of all these circumstances and engage Myself in the rāsa dance."

Nectar of Devotion 22:

As far as Kṛṣṇa's enjoyment is concerned, it is stated that the ornaments which decorated the bodies of Kṛṣṇa and His queens were beyond the dreams of Kuvera, the treasurer of the heavenly kingdom. The constant dancing before the doors of Kṛṣṇa's palaces was not to be imagined even by the demigods in the heavenly kingdom. In the heavenly kingdom, Indra always sees the dancing of the society girls. But even Indra could not imagine how beautiful were the dances being performed at the gates of Kṛṣṇa's palaces. Gaurī means "white woman," and Lord Śiva's wife is called Gaurī. The beautiful women residing within the palaces of Kṛṣṇa were so much whiter than Gaurī that they were compared to the moonshine, and they were constantly visible to Kṛṣṇa. Therefore, no one can be enjoying more than Kṛṣṇa. The conception of enjoyment is beautiful women, ornaments and riches. And all of these were fabulously present in the palaces of Kṛṣṇa, defeating even the imagination of Kuvera, Lord Indra or Lord Śiva.

Not even a slight distress can touch Kṛṣṇa. Once some of the gopīs went to the place where the brāhmaṇas were performing sacrifices and said, "Dear wives of the brāhmaṇas, you must know that not even a slight smell of distress can touch Kṛṣṇa. He knows no loss, He knows no defamation, He has no fear, He has no anxiety, and He does not know calamity. He is simply encircled by the dancers of Vraja and is enjoying their company in the rāsa dance."

Nectar of Devotion 26:

In this connection, in the Tenth Canto, Twenty-first Chapter, verse 5, of Śrīmad-Bhāgavatam, Śukadeva Gosvāmī tells King Parīkṣit, "My dear King, I shall try to describe how the minds of the gopīs became absorbed in thought of Kṛṣṇa. The gopīs would meditate on Kṛṣṇa's dressing Himself just like a dancing actor and entering the forest of Vṛndāvana, marking the ground with His footprints. They meditated on Kṛṣṇa's having a helmet with a peacock feather and wearing earrings on His ears and yellow-gold colored garments covered with jewels and pearls. They also meditated on Kṛṣṇa's blowing His flute and on all the cowherd boys' singing of the glories of the Lord." That is the description of the meditation which the gopīs used to perform.

Sometimes the gopīs would think about His soft nails, His moving eyebrows and His teeth, which were catechu-colored from chewing pan. One description was given by a gopī to her friend: "My dear friend, just see how the enemy of Agha has assumed such wonderful features! His brows are just like the brows of Cupid, and they are moving just as though they were dancing. The tips of His nails are so soft—it is as if they were dried bamboo leaves. His teeth are reddish, and so it appears that He has assumed a feature of anger. Under the circumstances, where is the chance for a young girl not to be attracted by such beautiful features and not to be afraid of becoming a victim to such beauty?"

Nectar of Devotion 26:

In this connection there is the following statement: "Throughout the whole tract of land known as Vṛndāvana there were the footprints of Kṛṣṇa and the gopīs, and in some places peacock feathers were strewn about. In some places there were nice beddings in the bushes of the Vṛndāvana gardens, and in some places there were piles of dust due to the group-dancing of Govinda and the gopīs." These are some of the features which are due to the different pastimes invented by Śrī Kṛṣṇa in the place known as Vṛndāvana.

Nectar of Devotion 26:

This kaiśora age can be translated as adolescence. At the end of this period all the gopīs said, "Kṛṣṇa is the killer of the attraction of Cupid, and as such He disturbs the patience of all newly married girls. Kṛṣṇa's bodily features have become so exquisite—it is as if they were all manifesting an artistic sense of the highest sort. His dancing eyes have dimmed the brilliance of the most expert dancer, and so there is no longer any comparison to the beauty of Kṛṣṇa." Learned scholars therefore describe the features of His body at this time as nava-yauvana, newly invented youthfulness. At this stage of Kṛṣṇa's bodily features, the conjugal love affairs with the gopīs and similar pastimes become very prominent.

Nectar of Devotion 26:

A person is called mild when he cannot even bear the touch of the most soft thing. It is described that every part of Kṛṣṇa's body was so soft that even at the touch of newly grown leaves, the color of the touched part of His skin would change. At this kaiśora age, Kṛṣṇa's endeavors were always bent toward arranging the rāsa dance, as well as toward killing the demons in the forest of Vṛndāvana. While Kṛṣṇa was engaged in enjoyment with the boys and girls within the forest of Vṛndāvana, Kaṁsa used to send his associates to kill Kṛṣṇa, and Kṛṣṇa would show His prowess by killing them.

Nectar of Devotion 27:

The bodily symptoms manifested by a devotee in expressing ecstatic love for Kṛṣṇa are called anubhāva. Practical examples of anubhāva are as follows: dancing, rolling on the ground, singing very loudly, stretching the body, crying loudly, yawning, breathing very heavily, neglecting the presence of others, drooling, laughing like a madman, wheeling the head and belching. When there is an extraordinary excess of ecstatic love, with all of these bodily symptoms manifested, one feels relieved transcendentally.

These symptoms are divided into two parts: one is called śīta, and the other is called kṣepaṇa. When there is yawning, the symptoms are called śīta, and when there is dancing they are called kṣepaṇa.

Nectar of Devotion 27:

While watching the rāsa dance performed by Lord Kṛṣṇa and the gopīs, Lord Śiva beheld the beautiful face of Kṛṣṇa and immediately began to dance and beat upon his small diṇḍima drum. While Lord Śiva was dancing in ecstasy, his eldest son, Gaṇeśa, joined him.

Nectar of Devotion 28:

The standing up of hair on the body resulting from jubilation is described in the Tenth Canto, Thirtieth Chapter, verse 10, of Śrīmad-Bhāgavatam, in connection with the gopīs engaged in the rāsa dance. During this rāsa dance Kṛṣṇa disappeared all of a sudden with Rādhārāṇī, and the gopīs began to search Him out. At that time they addressed the earth and said, "Dear earthly planet, how many austerities and penances you must have undergone to have the lotus feet of Kṛṣṇa always touching your surface. I think that you must be very jubilant, because the trees and plants, which are just like hairs on your body, are standing up so gloriously. May we ask when you first got these symptoms? Have you been enjoying this jubilation since you were touched by the incarnation Vāmana or since you were delivered by the incarnation Varāha?"

Nectar of Devotion 28:

In the Tenth Canto, Twenty-ninth Chapter, verse 30, another example of faltering of the voice was exhibited by the gopīs when they came to Kṛṣṇa, desiring to dance with Him. Kṛṣṇa asked them to go back to their husbands and homes. The gopīs apparently became very angry and began to talk to Kṛṣṇa with faltering voices.

Nectar of Devotion 28:

Sometimes, while participating in ceremonies celebrating Kṛṣṇa's pastimes, or in the society of devotees, there is dancing ecstasy. Such sentiments are called blazing.

None of the above symptoms can be manifested without the basic principle of strong attachment for Kṛṣṇa. In the smoky condition of such ecstatic expressions, the symptoms could otherwise be hidden. This type of symptom was experienced by Priest Gargamuni, who was performing some ritualistic ceremony in the house of Nanda Mahārāja. When he heard about Kṛṣṇa's killing of the Aghāsura demon, there were some tears visible in his eyes, his throat was trembling, and perspiration covered his whole body. In this way Priest Gargamuni's beautiful face assumed a nice condition.

Nectar of Devotion 29:

One feels fatigue after walking a long distance, after dancing and after sexual activity. In this kind of fatigue there is dizziness, perspiration, inactivity of the limbs, yawning and very heavy breathing.

One day Yaśodā was chasing Kṛṣṇa in the yard after He had offended her. After a while, Yaśodā became very fatigued, and therefore she was perspiring, and her bunched hair became loosened. This is an instance of becoming fatigued because of working too much.

Sometimes all of the cowherd friends of Kṛṣṇa, along with Balarāma, danced together in some ceremony. At these times the garlands on their necks would move, and the boys would begin to perspire. Their whole bodies became wet from their ecstatic dancing. This is an instance of fatigue caused by dancing.

In Śrīmad-Bhāgavatam, Tenth Canto, Thirty-third Chapter, verse 20, it is said that after enjoying love affairs with Kṛṣṇa by dancing, embracing and kissing, the gopīs would sometimes become very tired, and Kṛṣṇa, out of His causeless mercy and compassion, would smear their faces with His lotus hands. This is an example of fatigue caused by laboring in the rāsa dance.

Nectar of Devotion 29:

Once during the rāsa dance, when Rādhārāṇī left the arena and Kṛṣṇa went to seek Her out, one of the dear friends of Rādhārāṇī addressed Kṛṣṇa thus: "My dear Kṛṣṇa, You have been very much obliging in serving the form of our Śrī Rādhārāṇī, and now You have left all the other gopīs to search for Her. Please allow me to inquire how You want Her to treat You." This is an instance of feeling pride on account of exquisite beauty.

Sometimes Rādhārāṇī felt pride within Herself and said, "Although the cowherd boys prepare nice flower garlands for Kṛṣṇa, when I present My garland to Him, He becomes struck with wonder and immediately accepts it and puts it on His heart."

Nectar of Devotion 30:

It is stated in the Tenth Canto, Thirty-third Chapter, verse 11, of Śrīmad-Bhāgavatam, "Upon seeing that Kṛṣṇa's arm was placed on her shoulder, one of the gopīs engaged in the rāsa dance became so ecstatically happy that she kissed Kṛṣṇa on His cheek." This is an instance of feeling happiness because of achieving a desired goal.

Nectar of Devotion 30:

When Kṛṣṇa was fighting with the Kāliya snake by dancing on his heads, Kāliya bit Kṛṣṇa on the leg. At that time Garuḍa became infuriated and began to murmur, "Kṛṣṇa is so powerful that simply by His thundering voice the wives of Kāliya have had miscarriages. Because my Lord has been insulted by this snake, I wish to devour him immediately, but I cannot do so in the presence of my Lord, because He may become angry with me." This is an instance of eagerness to act in ecstatic love as a result of dishonor to Kṛṣṇa.

Nectar of Devotion 30:

In the Vidagdha-mādhava, Jaṭilā, the mother-in-law of Rādhārāṇī, began to criticize Kṛṣṇa in this way: "Kṛṣṇa, You are standing here, and Rādhārāṇī, who has just been married to my son, is also standing here. Now I know both of You very well, so why should I not be very anxious to protect my daughter-in-law from Your dancing eyes?" This is an instance of dishonorable words used to indirectly criticize Kṛṣṇa.

Nectar of Devotion 30:

In the Tenth Canto, Thirtieth Chapter, verse 30, of Śrīmad-Bhāgavatam, there is the following statement: "When the gopīs were searching for Kṛṣṇa and Rādhā after the rāsa dance, they thus began to speak among themselves: 'We have seen the footprints of Kṛṣṇa and Rādhā on the ground of Vṛndāvana, and they are giving us great pain, because although Kṛṣṇa is everything to us, that girl is so cunning that She has taken Him away alone and is enjoying His kissing without sharing Him with us!' " This is another instance of envy of the good fortune of Śrīmatī Rādhārāṇī.

Nectar of Devotion 30:

One of the gopīs informed Kṛṣṇa, "My dear Kṛṣṇa, when You disappeared from the arena of the rāsa dance, our most dear friend, Rādhārāṇī, immediately fell on the ground and lost consciousness. But after this, when I offered Her some of Your chewed betel nut remnants, She immediately returned to consciousness with jubilant symptoms in Her body." This is an instance of alertness caused by tasting.

Nectar of Devotion 37:

In Śrīmad-Bhāgavatam, Tenth Canto, Eighty-sixth Chapter, verse 38, there is a statement of how Śrutadeva, a brāhmaṇa from the country called Mithilā in northern India, became so overpowered with joy as soon as he saw Kṛṣṇa that immediately after bowing to the Lord's lotus feet he stood up and began to dance, raising his two arms above his head.

One of the devotees of Lord Kṛṣṇa once addressed Him in this manner: "My dear Lord, although You are not a professional dancer, by Your dancing You have so astonished us that we can understand that You are personally the master of all dancing. Certainly You must have learned this dancing art directly from the goddess of love." When a devotee dances in ecstatic love, there are manifestations of symptoms which are called sāttvika. Sāttvika means that they are from the transcendental platform. They are not symptoms of material emotion; they come from the soul proper.

Nectar of Devotion 38:

In Śrīmad-Bhāgavatam, Seventh Canto, Fourth Chapter, verse 40, Prahlāda Mahārāja says that even in his childhood, when he was loudly speaking the glories of the Lord, he used to dance just like a shameless madman. And sometimes, being fully absorbed in thought on the pastimes of the Lord, he used to imitate such pastimes. This is an instance of a devotee's being almost like a madman. Similarly, it is said that the great sage Nārada was so ecstatically in love with Kṛṣṇa that he would sometimes dance naked, and sometimes his whole body would become stunned. Sometimes he would laugh very loudly, sometimes he would cry very loudly, sometimes he would remain silent, and sometimes he would appear to be suffering from some disease, although he had no disease. This is another instance of becoming like a madman in the ecstasy of devotion.

Nectar of Devotion 39:

In the Eleventh Canto of Śrīmad-Bhāgavatam, Third Chapter, verse 32, it is stated that when devotees are engaged in the discharge of bhakti-yoga, sometimes they cry from thinking of Kṛṣṇa, sometimes they laugh, sometimes they become jubilant, and sometimes they talk in very uncommon ways. Sometimes they dance, sometimes they sing, sometimes they are actually engaged in the service of the Lord, and sometimes they sit down silently as if absorbed in trance.

Nectar of Devotion 40:

When Cupid came on one occasion to visit Lord Kṛṣṇa, some devotee addressed him thus: "My dear Cupid, because you have been so fortunate as to have placed your eyesight on the lotus feet of Kṛṣṇa, the drops of perspiration on your body have become frozen, and they resemble kaṇṭakī fruits (a kind of small fruit found in thorny bushes)." These are signs of ecstasy and veneration for the Supreme Personality of Godhead. When the princes of the Yadu dynasty heard the vibration of Kṛṣṇa's Pāñcajanya conchshell, the hairs on their bodies immediately stood up in ecstatic jubilation. It seemed at that time that all the hairs on the bodies of the princes were dancing in ecstasy.

Nectar of Devotion 42:

At this age Kṛṣṇa was garlanded with various kinds of flowers. He used to put on a silk dress, colored with various kinds of dye. Such beautiful decorations are considered cosmetics for Kṛṣṇa. Kṛṣṇa would wear this dress when He used to go into the forest to tend the cows. Sometimes He would wrestle there with His different friends, and sometimes they would dance all together in the forest. These are some of the specific activities of the paugaṇḍa age.

Nectar of Devotion 42:

Kṛṣṇa played with His intimate friends sometimes by fighting or wrestling with their arms, sometimes by playing ball and sometimes by playing chess. Sometimes they carried one another on their shoulders, and sometimes they exhibited their expertness at whirling logs. And the cowherd friends used to please Kṛṣṇa by sitting together with Him on couches or on swings, by lying together on their beds, by joking together and by swimming in the pool. All these activities are called anubhāva. Whenever all the friends would assemble in the company of Kṛṣṇa, they would immediately engage in all these functions, especially in dancing together. Regarding their wrestling, one friend once asked Kṛṣṇa, "My dear friend, O killer of the Agha demon, You are very proudly wandering among Your friends trying to exhibit Your arms as very strong. Is it that You are envious of me? I know that You cannot defeat me in wrestling, and I also know that You were sitting idly for a long time because You were hopeless of defeating me."

Nectar of Devotion 42:

The servants of Kṛṣṇa were sometimes engaged in collecting flowers, decorating His body with valuable ornaments and trinkets, dancing before Him, singing, helping Him herd the cows, massaging His body, preparing flower garlands and sometimes fanning His body. These were some of the primary duties of the servants of Kṛṣṇa. The friends and servants of Kṛṣṇa were combined together in serving Him, and all of their activities are known as anubhāva.

Nectar of Devotion 44:

The steady ecstasy of conjugal love is the original cause of bodily enjoyment. In the Padyāvalī this original cause of union is described when Rādhārāṇī tells one of Her constant companions, "My dear friend, who is this boy whose eyelids, dancing constantly, have increased the beauty of His face and attracted My desire for conjugal love? His ears are decorated with buds of aśoka flowers, and He has dressed Himself in yellow robes. By the sound of His flute, this boy has already made Me impatient."

Nectar of Devotion 44:

When the lover and beloved come together and enjoy one another by direct contact, this stage is called sambhoga. There is a statement in Padyāvalī as follows: "Kṛṣṇa embraced Śrīmatī Rādhārāṇī in such an expert manner that He appeared to be celebrating the dancing ceremony of the peacocks."

Śrī Rūpa Gosvāmī thus ends the fifth wave of his Ocean of the Nectar of Devotion. He offers his respectful obeisances to the Supreme Personality of Godhead, who appeared as Gopāla, the eternal form of the Lord.

Nectar of Devotion 45:

In a state of smiling when the nose becomes puffed and the eyes squint, the smiling is called avahasita. Once, early in the morning when Kṛṣṇa returned home after performing His rāsa dance, mother Yaśodā looked upon Kṛṣṇa's face and addressed Him thus: "My dear son, why do Your eyes look like they have been smeared with some oxides? Have You dressed Yourself with the blue garments of Baladeva?" When mother Yaśodā was addressing Kṛṣṇa in that way, a girl friend who was nearby began to smile with a puffed nose and squinting eyes. This is an instance of avahasita smiling. The gopī knew that Kṛṣṇa had been enjoying the rāsa dance and that mother Yaśodā could not detect her son's activities or understand how He had become covered with the gopīs' makeup. Her smiling was in the avahasita feature.

When tears from the eyes are added to the smiling and the shoulders are shaking, the smile is called apahasita. When child Kṛṣṇa was dancing in response to the singing of the old maidservant Jaratī, Nārada was astonished. The Supreme Personality of Godhead, who controls all the movements of great demigods like Brahmā, was now dancing to the indications of an old maidservant. Seeing this fun, Nārada also began to dance, and his shoulders trembled, and his eyes moved. Due to his smiling, his teeth also became visible, and on account of the glaring effulgence from his teeth, the clouds in the skies turned silver.

Nectar of Devotion 49:

There is another statement as follows: "Please look at this devotee of the Lord who is dancing just from remembering the lotus feet of Kṛṣṇa. Simply by observing his dance you will lose all interest in even the most beautiful women!" In this statement the whole is in neutrality, and the part is in ghastliness.

One devotee boldly said, "My dear Lord, now I am turning my face from any thought of association with young girls. As far as Brahman realization is concerned, I have lost all interest, because I am completely absorbed in thinking about You. And being absorbed so blissfully, I have lost all other desires, even the desire for mystic powers. Now my mind is attracted only to worshiping Your lotus feet." In this statement, the whole is the ecstasy of neutrality, and the part is chivalry.

Nectar of Devotion 49:

The following statement was made by Kṛṣṇa to the gopīs: "My dear enchanted, don't gaze at Me with longing eyes like this. Be satisfied and return to your homes in Vṛndāvana. There is no necessity of your presence here." While Kṛṣṇa was joking in this way with the damsels of Vraja, who with great hope had come to enjoy the rāsa dance with Him, Subala was also on the scene, and he began to look at Kṛṣṇa with wide and laughing eyes. Subala's feeling contained a mixture of fraternity and laughter in devotional service. Fraternity is considered here to be the whole, and the laughter is considered the part.

Nectar of Devotion 50:

In the Lalita-mādhava of Śrīla Rūpa Gosvāmī it is stated, "After Kṛṣṇa's arrival in Kaṁsa's arena, Kaṁsa's priest looked at Kṛṣṇa with a detestful expression. The entire arena was filled with dread on the part of Kaṁsa and his priest and restless expressions of pleasure on the cheeks of Kṛṣṇa's friends. Frustration was felt by His envious rivals. The great sages meditated. Hot tears were in the eyes of Devakī and other motherly ladies, and hairs stood on the bodies of the expert warriors. There was astonishment in the hearts of demigods such as Indra. The servants danced, and the restless eyes of all the young girls glanced about." In this statement there is a description of a combination of different mellows, but there is no incompatibility.

Nectar of Devotion 51:

When Madhumaṅgala, an intimate friend of Kṛṣṇa, was dancing before Kṛṣṇa in a joking manner, no one was paying attention to him, and he jokingly said, "My dear Lord, please be merciful upon me. I am praying for Your mercy." This is an example of uparasa in fraternal affection and neutrality.

Kaṁsa once addressed his sister Devakī as follows: "My dear sister, having seen your dear son Kṛṣṇa, I think that He is so strong that He can kill even wrestlers as strong as the mountains. So I will have no more anxieties about Him, even if He is engaged in a terrible fight." This is an instance of uparasa in a perverted reflection of parental love.

Nectar of Devotion 51:

After Kṛṣṇa chastised the Kāliya-nāga in the Yamunā River by dancing on his heads, the Kāliya-nāga's wives addressed Kṛṣṇa, "Dear cowherd boy, we are all only young wives of the Kāliya-nāga, so why do You agitate our minds by sounding Your flute?" Kāliya's wives were flattering Kṛṣṇa so that He would spare their husband. Therefore this is an example of uparasa, or false expression.

One devotee said, "My dear Govinda, here is a nice flowery bush in Kailāsa. I am a young girl, and You are a young poetic boy. After this, what more can I say? You just consider." This is an example of uparasa, caused by impudence in conjugal love.

Easy Journey to Other Planets

Easy Journey to Other Planets 2:

Try to find that planet from which one will never return, where there is eternal life, and where one can dance with Kṛṣṇa. This is the meaning of Kṛṣṇa consciousness. Take this movement seriously, for Kṛṣṇa consciousness gives one a chance to reach Kṛṣṇa and to dance with Him eternally. From Vedic literature we understand that this material world is a manifestation of only one fourth of the complete creation of God. The three-fourths portion of God's creation is the spiritual world. That we find in Bhagavad-gītā. Kṛṣṇa says, "This material world is but a fractional part of the whole." If we look as far as we can see—up to the sky—our vision is still confined within only one universe, and there are unlimited universes clustered together within what is called the material world.

Krsna, The Supreme Personality of Godhead

Krsna Book 3:

At that time, in all directions—east, west, south, north, everywhere—there was an atmosphere of peace and prosperity. There were auspicious stars visible in the sky, and on the surface in all towns and villages and pasturing grounds and within the minds of everyone there were signs of good fortune. The rivers were flowing full of waters, and lakes were beautifully decorated with lotus flowers. The forests were full with beautiful birds and peacocks. All the birds within the forests began to sing with sweet voices, and the peacocks began to dance along with their consorts. The wind blew very pleasantly, carrying the aroma of different flowers, and the sensation of bodily touch was very pleasing. At home, the brāhmaṇas, who were accustomed to offering sacrifices in the fire, found their homes very pleasant for offerings. Due to disturbances created by the demoniac kings, the sacrificial fire had been almost stopped in the houses of brāhmaṇas, but now they could find the opportunity to start the fire peacefully. Being forbidden to offer sacrifices, the brāhmaṇas had been very much distressed in mind, intelligence and activities, but just on the point of Kṛṣṇa's appearance, automatically their minds became full of joy because they could hear transcendental vibrations in the sky proclaiming the appearance of the Supreme Personality of Godhead.

The denizens of the Gandharva and Kinnara planets began to sing, and the denizens of Siddhaloka and the planets of the Cāraṇas began to offer prayers in the service of the Personality of Godhead. In the heavenly planets, the angels and their wives, along with the Vidyādharas and their wives, began to dance.

Krsna Book 11:

Most of the cowherd men did not believe the statement of the children. They could not believe that such things were at all possible. Some of the men, however, believed them and told Nanda Mahārāja, "Your child is different from all other children. He just might have done it." Nanda Mahārāja smiled to hear about the extraordinary abilities of his son. He came forward and untied the knot just to free his wonderful child. After being freed by Nanda Mahārāja, Kṛṣṇa was taken onto the laps of the elder gopīs. They took Him away to the courtyard of the house and began to clap, praising His wonderful activities. Kṛṣṇa danced along with their clapping, just like an ordinary child. The Supreme Lord Kṛṣṇa, being completely controlled by the gopīs, sang and danced just like a puppet in their hands.

Krsna Book 11:

Soon Kṛṣṇa and Balarāma had grown sufficiently to be given charge of the calves. Cowherd boys, from the very beginning of their childhood, are trained to take care of the cows, and their first responsibility is to take care of the little calves. So along with the other little cowherd boys, Kṛṣṇa and Balarāma went into the pasturing ground and took charge of the calves, and there They played with Their playmates. While taking charge of the calves, sometimes the two brothers played on Their flutes. And sometimes They played with āmalaka fruits and bael fruits, just as small children play with balls. Sometimes They danced and made tinkling sounds with Their ankle bells. Sometimes They made Themselves into bulls and cows by covering Themselves with blankets. Thus Kṛṣṇa and Balarāma played. The two brothers also used to imitate the sounds of bulls and cows and play like two bulls fighting. Sometimes They used to imitate the sounds of various animals and birds. In this way, They enjoyed Their childhood pastimes apparently like ordinary, mundane children.

Krsna Book 12:

So there was a great competition. One would say, "I will go there and touch Kṛṣṇa," and another would say, “Oh, you cannot go. I’ll touch Kṛṣṇa first.” Some of them played on their flutes or vibrated bugles made of buffalo horn. Some of them gladly followed the peacocks and imitated the onomatopoetic sounds of the cuckoo. While the birds were flying in the sky, the boys ran after the birds' shadows along the ground and tried to follow their exact courses. Some of them went to the monkeys and silently sat down by them, and some of them imitated the dancing of the peacocks. Some of them caught monkeys by the tail and played with them, and when the monkeys jumped into a tree, the boys followed. When a monkey showed its face and teeth, a boy imitated and showed his teeth to the monkey. Some of the boys played with the frogs on the bank of the Yamunā, and when, out of fear, the frogs jumped into the water, the boys immediately dove in after them, and when the boys came out of the water and saw their own shadows, they would stand imitating, making caricatures and laughing.

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After this manifestation of Lord Viṣṇu, Brahmā saw that many other Brahmās and Śivas and demigods and even insignificant living entities down to the ants and very small straws—all moving and nonmoving living entities—were dancing, surrounding Lord Viṣṇu. Their dancing was accompanied by various kinds of music, and all of them were worshiping Lord Viṣṇu. Brahmā realized that all those Viṣṇu forms were complete in mystic power, from the aṇimā perfection of becoming small like an atom up to becoming infinite like the cosmic manifestation. All the mystic powers of Brahmā, Śiva, all the demigods and the twenty-four elements of cosmic manifestation were fully represented in the person of Viṣṇu. By the influence of Lord Viṣṇu, all subordinate mystic powers were engaged in His worship.

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When Brahmā was thus standing baffled in his limited power and conscious of his limited activities within the eleven senses, he could realize that he was also a creation of the material energy, just like a puppet. As a puppet has no independent power to dance but dances according to the direction of the puppet master, so the demigods and living entities are all subordinate to the Supreme Personality of Godhead. As it is stated in the Caitanya-caritāmṛta, the only master is Kṛṣṇa, and all others are His servants. The whole world is under the waves of the material spell, and beings are floating like straws in water. So their struggle for existence is continuing. But as soon as one becomes conscious that he is the eternal servant of the Supreme Personality of Godhead, this māyā, or illusory struggle for existence, is immediately stopped.

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While walking, the boys sometimes imitated the quacking sound of the swans in the lakes, or when they saw the peacocks dancing, they imitated them before Kṛṣṇa. Kṛṣṇa also moved His neck, imitating the dancing and making His friends laugh.

The cows taken care of by Kṛṣṇa had different names, and Kṛṣṇa would call them with love. After hearing Kṛṣṇa calling, the cows would immediately respond by mooing, and the boys would enjoy this exchange to their hearts' content. They would all imitate the sound vibrations made by the different kinds of birds, especially the cakoras, peacocks, cuckoos and bhāradvājas. Sometimes, when they would see the weaker animals fleeing out of fear of the sounds of tigers and lions, the boys, along with Kṛṣṇa and Balarāma, would imitate the animals and run away with them. When they felt some fatigue, they would sit down, and Balarāma would put His head on the lap of one of the boys just to take rest, and Kṛṣṇa would immediately come and begin massaging the legs of Balarāma. And sometimes Kṛṣṇa would take a palm fan and fan the body of Balarāma, causing a pleasing breeze to relieve Him of His fatigue. Other boys would sometimes dance or sing while Balarāma took rest, and sometimes they would wrestle amongst themselves or jump.

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The Lord's lotus feet became tinged with red from the rays of the jewels on the snake's hoods. Then He who is the original artist of all fine arts, such as dancing, began to dance upon the hoods of the serpent, although they were moving to and fro. Upon seeing this, the denizens of the upper planets showered flowers, beat drums, played different types of flutes and sang various prayers and songs. In this way, all the denizens of heaven, such as the Gandharvas, Siddhas and demigods, became very much pleased.

While Kṛṣṇa was dancing on his hoods, Kāliya tried to push Him down with some of his other hoods. Kāliya had about a hundred hoods, but Kṛṣṇa took control of them. He began to dash Kāliya with His lotus feet, and this was more than the serpent could bear. Gradually, Kāliya was reduced to struggling for his very life. He vomited all kinds of refuse and exhaled fire. While throwing up poisonous material from within, Kāliya became reduced in his sinful situation. Out of great anger, he began to struggle for existence and tried to raise one of his hoods to kill the Lord. The Lord immediately captured that hood and subdued it by kicking it and dancing on it.

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We think, therefore, that this apparent punishment of Kāliya is actually some benediction. We consider that Your punishment is Your great mercy upon us because when You punish someone it is to be understood that the reactions of his sinful activities are eradicated. It is already clear that this creature appearing in the body of a serpent must have been overburdened with all kinds of sin; otherwise, how could he have the body of a serpent? Your dancing on his hoods has reduced all the sinful results of actions caused by his having this body of a serpent. It is therefore very auspicious that You have become angry and have punished him in this way. We are very much astonished to see how You have become so much pleased with this serpent, who evidently performed various religious activities in his past lives that pleased everyone. He must have undergone all kinds of penances and austerities, humbly honored others and executed universal welfare activities for all living creatures.”

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Vṛndāvana is such a nice place. Flowers are always blooming, and there are even various kinds of decorated deer. Birds are chirping, peacocks are crowing and dancing, and bees are humming. The cuckoos there sing nicely in five kinds of tunes.

Kṛṣṇa, the reservoir of pleasure, blowing His flute, accompanied by His elder brother Balarāma and the other cowherd boys and the cows, entered the beautiful forest of Vṛndāvana to enjoy the atmosphere. They walked into the midst of newly grown leaves of trees whose flowers resembled peacock feathers. They were garlanded by those flowers and decorated with saffron chalk.

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Similarly, for one who has identified himself with the moving material world, his actual spiritual luster is covered by illusion, and with the movement of material activities he thinks that he is moving through different spheres of life. This is due to false ego, which is the demarcation between spiritual and material existence, just as the moving cloud is the demarcation between moonlight and darkness. In the rainy season, when the clouds appear for the first time, the peacocks dance with joy upon seeing them. The peacocks can be compared to persons who are very much harassed in the materialistic way of life. If they can find the association of a person engaged in the loving devotional service of the Lord, they become enlightened and dance just like peacocks. We have practical experience of this: many of our students were dry and morose previous to their coming to Kṛṣṇa consciousness, but having come into contact with devotees, they are now dancing like jubilant peacocks.

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After hearing the vibration of the flute of Kṛṣṇa, the gopīs in Vṛndāvana remembered Him and began to talk amongst themselves about how nicely Kṛṣṇa was playing His flute. When the gopīs were describing the sweet vibration of Kṛṣṇa's flute, they also remembered their pastimes with Him; thus their minds became disturbed, and they were unable to describe completely the beautiful vibration. While discussing the transcendental vibration, they remembered also how Kṛṣṇa dressed, decorated with a peacock feather on His head, just like a dancing actor, and with blue flowers pushed over His ear. His garment glowed yellow-gold, and He was garlanded with a Vaijayantī necklace. Dressed in such an attractive way, Kṛṣṇa filled up the holes of His flute with the nectar emanating from His lips. So they remembered Him, entering the forest of Vṛndāvana, which is always glorified by the footprints of Kṛṣṇa and His companions.

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Another gopī spoke thus to her friends about Kṛṣṇa: "Dear friend, our Vṛndāvana is proclaiming the glories of this entire earth because this planet is glorified by the lotus footprints of the son of Devakī. Besides that, when Govinda plays His flute, the peacocks immediately become mad, as if they had heard the rumbling of a new cloud. When all the animals and trees and plants, either on the top of Govardhana Hill or in the valley, see the dancing of the peacocks, they all stand still and listen to the transcendental sound of the flute with great attention. We think that this boon is not possible or available on any other planet." Although the gopīs were village cowherd women and girls, they had extensive Vedic knowledge. Such is the effect of Vedic civilization. People in general would learn the highest truths of the Vedas simply by hearing from authoritative sources.

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The brāhmaṇas' wives saw Kṛṣṇa with a blackish complexion, wearing a garment that glittered like gold. He wore a nice garland of forest flowers and a peacock feather on His head. He was also painted with the minerals found in Vṛndāvana, and He looked exactly like a dancing actor on a theatrical stage. They saw Him resting one hand on the shoulder of His friend, and in His other hand He was holding a lotus flower. His ears were decorated with lilies, He wore marks of tilaka, and He was smiling charmingly. With their very eyes the wives of the brāhmaṇas saw the Supreme Personality of Godhead, of whom they had heard so much, who was so dear to them, and in whom their minds were always absorbed. Now they saw Him eye to eye and face to face, and Kṛṣṇa entered within their hearts through their eyes.

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In Śrīmad-Bhāgavatam it is stated that the rāsa dance took place on the full-moon night of the śarat season. From the statements of previous chapters, it appears that the festival of Govardhana-pūjā was performed just after the dark-moon night of the month of Kārttika, and thereafter the ceremony of Bhrātṛ-dvitīyā was performed; then the wrath of Indra was exhibited in the shape of torrents of rain and hailstones, and Lord Kṛṣṇa held up Govardhana Hill for seven days, until the ninth day of the moon. Thereafter, on the tenth day, the inhabitants of Vṛndāvana were talking amongst themselves about the wonderful activities of Kṛṣṇa, and the next day, Ekādaśī, was observed by Nanda Mahārāja. On the next day, Dvādaśī, Nanda Mahārāja went to take a bath in the Ganges and was arrested by one of the men of Varuṇa; then he was released by Lord Kṛṣṇa. Then Nanda Mahārāja, along with the cowherd men, was shown the spiritual sky.

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In this way, the full-moon night of the śarat season came to an end. The full-moon night of Āśvina is called śarat-pūrṇimā. It appears from the statements of Śrīmad-Bhāgavatam that Kṛṣṇa had to wait another year for such a moon before enjoying the rāsa dance with the gopīs. At the age of seven years He lifted Govardhana Hill. Therefore the rāsa dance took place during His eighth year.

From the Vedic literature it appears that when a theatrical actor dances among many dancing girls, the group dance is called a rāsa dance. When Kṛṣṇa saw the full-moon night of the śarat season, decorated with various seasonal flowers—especially the mallikā flowers, which are very fragrant—He remembered the gopīs' prayers to Goddess Kātyāyanī, wherein they prayed for Kṛṣṇa to be their husband. He thought that the full-moon night of the śarat season was just suitable for a nice dance. So their desire to have Kṛṣṇa as their husband would then be fulfilled.

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The words used in this connection in Śrīmad-Bhāgavatam are bhagavān api. This means that although Kṛṣṇa is the Supreme Personality of Godhead and thus has no desire that needs to be fulfilled (because He is always full with six opulences), He still wanted to enjoy the company of the gopīs in the rāsa dance. Bhagavān api signifies that this dance is not like the ordinary dancing of young boys and young girls. The specific words used in Śrīmad-Bhāgavatam are yogamāyām upāśritaḥ, which mean that this dancing with the gopīs is on the platform of yogamāyā, not mahāmāyā. The dancing of young boys and girls within the material world is in the kingdom of mahāmāyā, or the external energy. The rāsa dance of Kṛṣṇa with the gopīs is on the platform of yogamāyā. The difference between the platforms of yogamāyā and mahāmāyā is compared in the Caitanya-caritāmṛta to the difference between gold and iron. From the viewpoint of metallurgy, gold and iron are both metals, but the quality is completely different. Similarly, although the rāsa dance and Lord Kṛṣṇa's association with the gopīs appear like the ordinary mixing of young boys and girls, the quality is completely different. The difference is appreciated by great Vaiṣṇavas because they can understand the difference between love of Kṛṣṇa and lust.

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On the mahāmāyā platform, dances take place on the basis of sense gratification. But when Kṛṣṇa called the gopīs by sounding His flute, they very hurriedly rushed toward the spot of the rāsa dance with the transcendental desire to satisfy Kṛṣṇa. The author of Caitanya-caritāmṛta, Kṛṣṇadāsa Kavirāja Gosvāmī, has explained that lust means sense gratification, and love also means sense gratification—but for Kṛṣṇa. In other words, when activities are enacted on the platform of personal sense gratification, they are called material activities, but when they are enacted for the satisfaction of Kṛṣṇa, they are spiritual activities. On any platform of activities, the principle of sense gratification is there. But on the spiritual platform, sense gratification is for the Supreme Personality of Godhead, Kṛṣṇa, whereas on the material platform it is for the performer. For example, on the material platform, when a servant serves a master, he is trying to satisfy not the senses of his master but rather his own senses. The servant would not serve the master if the payment stopped. That means that the servant engages himself in the service of the master just to satisfy his own senses.

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As mentioned above, it appears that Kṛṣṇa enjoyed the rāsa dance with the gopīs when He was eight years old. At that time, many of the gopīs were married, because in India, especially in those days, girls were married at a very early age. There are even many instances of a girl's giving birth to a child at the age of twelve. Under the circumstances, all the gopīs who wanted to have Kṛṣṇa as their husband were already married. At the same time, they continued to hope that Kṛṣṇa would be their husband. Their attitude toward Kṛṣṇa was that of paramour love. Therefore, the loving affairs of Kṛṣṇa with the gopīs are called parakīya-rasa. The attitude of a married man who desires another wife or a wife who desires another husband is called parakīya-rasa.

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This material world is the perverted reflection of the spiritual world; it is just like the reflection of a tree on the bank of a reservoir of water: the topmost part of the tree is seen as the lowest part. Similarly, parakīya-rasa, when pervertedly reflected in this material world, is most abominable. Therefore when people imitate the rāsa dance of Kṛṣṇa with the gopīs, they simply enjoy the perverted, abominable reflection of the transcendental parakīya-rasa. There is no possibility of enjoying this transcendental parakīya-rasa within the material world. It is stated in Śrīmad-Bhāgavatam that one should not imitate this parakīya-rasa even in dream or imagination. Those who do so drink the most deadly poison.

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The appearance of the moon increased Kṛṣṇa's desire to dance with the gopīs. The forests were filled with fragrant flowers. The atmosphere was cooling and festive. When Lord Kṛṣṇa began to blow His flute, the gopīs all over Vṛndāvana became enchanted. Their attraction to the vibration of the flute increased a thousand times due to the rising full moon, the red horizon, the calm and cool atmosphere and the blossoming flowers. All the gopīs were by nature very much attracted to Kṛṣṇa's beauty, and when they heard the vibration of His flute, they became apparently lustful to satisfy the senses of Kṛṣṇa.

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Mahārāja Parīkṣit heard Śukadeva Gosvāmī explain the situation of the gopīs who assembled with Kṛṣṇa in the rāsa dance. When he heard that some of the gopīs, simply by concentrating on Kṛṣṇa as their paramour, became freed from all contamination of material birth and death, he said, "The gopīs did not know that Kṛṣṇa is the Supreme Personality of Godhead. They accepted Him as a beautiful boy and considered Him to be their paramour. So how was it possible for them to get freed from the material condition just by thinking of a paramour?" One should consider here that Kṛṣṇa and ordinary living beings are qualitatively one. The ordinary living beings, being part and parcel of Kṛṣṇa, are also Brahman, but Kṛṣṇa is the Supreme—Para-brahman.

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The gopīs had come to Kṛṣṇa to enjoy His company, to dance with Him, embrace Him and kiss Him, and when Kṛṣṇa began to receive them very officially, showing all kinds of etiquette, they were surprised. He was treating them like ordinary society women. Therefore they began to smile among themselves, and though they very eagerly listened to Kṛṣṇa talk in that way, they were surprised. Then Kṛṣṇa began to instruct them: "My dear friends, you must know that it is now the dead of night and the forest is very dangerous. At this time all the ferocious jungle animals—the tigers, bears, jackals and wolves—are prowling in the forest. Therefore it is very dangerous for you. You cannot select a secure place now. Everywhere you go you will find that all these animals are loitering to find their prey. I think, therefore, that you are taking a great risk in coming here in the dead of night. Please turn back immediately, without delay."

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When Kṛṣṇa spoke in such a discouraging way to the gopīs, they became very sad, for they thought that their desire to enjoy the rāsa dance with Kṛṣṇa would be frustrated. Thus they became full of anxiety. Out of great sadness, the gopīs began to breathe very heavily. Instead of looking at Kṛṣṇa face to face, they bowed their heads and looked at the ground, and they began to draw various types of curved lines on the ground with their toes. They were shedding heavy tears, and their cosmetic decorations were being washed from their faces. The water from their eyes mixed with the kuṅkuma on their breasts and fell to the ground. They could not say anything to Kṛṣṇa but simply stood there silently. By their silence they expressed that their hearts were grievously wounded.

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“Dear Kṛṣṇa, actually we have become very lusty, having been touched by Your lotus feet. Your lotus feet certainly kill all kinds of sinful activities of devotees who have taken shelter there. You are so kind that even the ordinary animals take shelter under Your lotus feet. Your lotus feet are also the residence of the goddess of fortune, yet You danced on the heads of the Kāliya serpent with them. Now we are requesting You to kindly place Your lotus feet on our breasts and pacify our lusty desires to touch You.

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Thus hearing the Supreme Personality of Godhead, Kṛṣṇa, speaking to pacify them, the gopīs became very much pleased. They became completely relieved of the great suffering of separation, not only by hearing the words of the Supreme Personality of Godhead but also by touching His hands and legs. After this, the Supreme Personality of Godhead began His rāsa dance. A dance in the midst of many girls is called a rāsa dance. So Kṛṣṇa began to dance among the most beautiful and fortunate girls within the three worlds. The gopīs of Vṛndāvana, who were so attracted to Him, danced with Kṛṣṇa, hand in hand.

Kṛṣṇa's rāsa dance should never be compared to any kind of material dance, such as a ball dance or a society dance. The rāsa dance is a completely spiritual performance. In order to establish this fact, Kṛṣṇa, the supreme mystic, expanded Himself into many forms and stood beside each gopī. Placing His hands on the shoulders of the gopīs on both sides of Him, He began to dance in their midst. The mystic expansions of Kṛṣṇa were not perceived by the gopīs because Kṛṣṇa appeared alone to each of them. Each gopī thought that Kṛṣṇa was dancing with her alone. Above that wonderful dance flew many airplanes carrying the denizens of the heavenly planets, who were very eager to see the wonderful dance of Kṛṣṇa with the gopīs. The Gandharvas and Kinnaras began to sing, and, accompanied by their respective wives, all the Gandharvas began to shower flowers on the dancers.

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As the gopīs and Kṛṣṇa danced together, a very blissful musical sound was produced from the tinkling of their bells, ornaments and bangles. It appeared that Kṛṣṇa was a greenish sapphire locket in the midst of a golden necklace decorated with valuable stones. While Kṛṣṇa and the gopīs danced, they displayed extraordinary bodily features. The movements of their legs, their placing their hands on one another, the movements of their eyebrows, their smiling, the movements of the gopīs' breasts, clothes and earrings, their cheeks, their hair with flowers—as Kṛṣṇa and the gopīs sang and danced these combined to appear like clouds, thunder, snow and lightning. Kṛṣṇa's bodily features appeared just like a group of clouds, the gopīs' songs were like thunder, their beauty appeared to be just like lightning in the sky, and the drops of perspiration visible on their faces appeared like falling snow. In this way, the gopīs and Kṛṣṇa fully engaged in dancing.

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he necks of the gopīs became tinted with red due to their desire to enjoy Kṛṣṇa more and more. To satisfy them, Kṛṣṇa began to clap His hands in time with their singing. Actually the whole world is full of Kṛṣṇa's singing, but it is appreciated in different ways by different kinds of living entities. This is confirmed in the Bhagavad-gītā: ye yathā māṁ prapadyante tāṁs tathaiva bhajāmy aham (BG 4.11). Kṛṣṇa is dancing, and every living entity is also dancing, but there is a difference between the dancing in the spiritual world and that in the material world. This is expressed by the author of the Caitanya-caritāmṛta, who says that the master dancer is Kṛṣṇa and everyone else is His servant. Everyone is trying to imitate Kṛṣṇa's dancing. Those who are actually in Kṛṣṇa consciousness respond rightly to the dancing of Kṛṣṇa: they do not try to dance independently. But those in the material world try to imitate Kṛṣṇa as the Supreme Personality of Godhead. The living entities are dancing under the direction of Kṛṣṇa's māyā and are thinking that they are equal to Kṛṣṇa. But this is not a fact. In Kṛṣṇa consciousness, this misconception is absent, for a person in Kṛṣṇa consciousness knows that Kṛṣṇa is the supreme master and everyone else is His servant. One has to dance to please Kṛṣṇa, not to imitate or attempt to become equal to the Supreme Personality of Godhead. The gopīs wanted to please Kṛṣṇa, and therefore as Kṛṣṇa sang, they responded and encouraged Him by saying "Well done! Well done!" Sometimes they presented beautiful music for His pleasure, and He responded by praising their singing.

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When some of the gopīs became very tired from dancing and moving their bodies, they placed their hands on the shoulders of Śrī Kṛṣṇa. Then their hair loosened and flowers fell to the ground. When they placed their hands on Kṛṣṇa's shoulder they became overwhelmed by the fragrance of His body, which emanated from the lotus, other aromatic flowers and the pulp of sandalwood. They became filled with attraction for Him, and they began to kiss Him. Some gopīs touched Kṛṣṇa cheek to cheek, and Kṛṣṇa began to offer them chewed betel nuts from His mouth, which they accepted with great pleasure by kissing. And by accepting those betel nuts, the gopīs spiritually advanced.

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The gopīs became tired after long singing and dancing. Kṛṣṇa was dancing beside them, and to alleviate their fatigue they took Śrī Kṛṣṇa's hand and placed it on their raised breasts. Kṛṣṇa's hand, as well as the breasts of the gopīs, are eternally auspicious; therefore when they combined, both of them became spiritually enhanced. The gopīs so enjoyed the company of Kṛṣṇa, the husband of the goddess of fortune, that they forgot that they had any other husbands in the world, and upon being embraced by the arms of Kṛṣṇa and dancing and singing with Him, they forgot everything. Śrīmad-Bhāgavatam thus describes the beauty of the gopīs while they were rāsa dancing with Kṛṣṇa. There were lotus flowers over both their ears, and their faces were decorated with sandalwood pulp. They wore tilaka, and there were drops of perspiration on their smiling mouths. From their feet came the tinkling sound of ankle bells and bangles. The flowers within their hair were falling to the lotus feet of Kṛṣṇa, and He was very satisfied.

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While Kṛṣṇa was enjoying the company of the gopīs in the rāsa dance, the astonished demigods and their wives gathered in the sky. The moon, being afflicted with a sort of lust, began to watch the dance and became stunned with wonder. The gopīs had prayed to the goddess Kātyāyanī to have Kṛṣṇa as their husband. Now Kṛṣṇa was fulfilling their desire by expanding Himself in as many forms as there were gopīs and enjoying them exactly like a husband.

Śrīla Śukadeva Gosvāmī has remarked that Kṛṣṇa is self-sufficient—He is ātmārāma. He doesn’t need anyone else for His satisfaction. But because the gopīs wanted Kṛṣṇa as their husband, He fulfilled their desire. When Kṛṣṇa saw that the gopīs were tired from dancing with Him, He immediately began to wipe His hands over their faces so that their fatigue would be relieved. In order to reciprocate the kind hospitality of Kṛṣṇa, the gopīs began to look at Him lovingly.

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The gopīs and Kṛṣṇa entered the water of the Yamunā just to relieve their fatigue from the rāsa dance. The lily-flower garlands around the necks of the gopīs were strewn to pieces due to the gopīs' embracing the body of Kṛṣṇa, and the flowers were reddish from being smeared with the kuṅkuma on their breasts. The bumblebees were humming about in order to get honey from the flowers. Kṛṣṇa and the gopīs entered the water of the Yamunā just as an elephant enters a water tank with his many female companions. Both the gopīs and Kṛṣṇa forgot their real identities, playing in the water, enjoying each other's company and relieving the fatigue of rāsa dancing. The gopīs began to splash water on the body of Kṛṣṇa, all the while smiling, and Kṛṣṇa enjoyed this. As Kṛṣṇa was taking pleasure in the joking words and splashing water, the demigods in the heavenly planets showered flowers. The demigods thus praised the superexcellent rāsa dance of Kṛṣṇa, the supreme enjoyer, and His pastimes with the gopīs in the water of the Yamunā.

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Sex desire is especially excited in the autumn season, but the wonderful thing about Kṛṣṇa's association with the gopīs is that there was no question of sex desire. It was, as clearly stated in the Bhāgavata description by Śukadeva Gosvāmī, avaruddha-saurata—the sex impulse was completely controlled. There is a distinction between Lord Kṛṣṇa's dancing with the gopīs and the ordinary dancing of living entities within the material world. In order to clear up further misconceptions about the rāsa dance and the affairs of Kṛṣṇa and the gopīs, Mahārāja Parīkṣit, the hearer of Śrīmad-Bhāgavatam, told Śukadeva Gosvāmī, “Kṛṣṇa appeared on the earth to establish the regulative principles of religion and to curb the predominance of irreligion. But the behavior of Kṛṣṇa and the gopīs might encourage irreligious principles in the material world. I am simply surprised that He would act in such a way, enjoying the company of others' wives in the dead of night.” This statement of Mahārāja Parīkṣit's was very much appreciated by Śukadeva Gosvāmī. The answer anticipates the abominable acts of the Māyāvādī impersonalists who place themselves in the position of Kṛṣṇa and enjoy the company of young girls and women.

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The basic Vedic injunctions never allow a person to enjoy sex with any woman except his own wife. Kṛṣṇa's appreciation of the gopīs appeared to be distinctly in violation of these rules. Mahārāja Parīkṣit understood the total situation from Śukadeva Gosvāmī, yet to further clarify the transcendental nature of Kṛṣṇa and the gopīs in the rāsa dance, he expressed his surprise. This is very important in order to check the unrestricted association with women by the prākṛta-sahajiyās.

In his statement, Mahārāja Parīkṣit has used several important words which require clarification. The first word, jugupsitam, means "abominable." The first doubt of Mahārāja Parīkṣit was as follows: Lord Kṛṣṇa is the Supreme Personality of Godhead, who had advented Himself to establish religious principles. Why then did He mix with others' wives in the dead of night and enjoy dancing, embracing and kissing? According to the Vedic injunctions, this is not allowed. Also, when the gopīs first came to Him, He gave instructions to them to return to their homes. To call the wives of other persons or young girls and enjoy dancing with them is certainly abominable according to the Vedas. Why should Kṛṣṇa have done this?

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Another word Mahārāja Parīkṣit used when he addressed Śukadeva Gosvāmī is suvrata, which means to take a vow to enact pious activities. Śukadeva Gosvāmī was an educated brahmacārī, and under the circumstances it was not possible for him to indulge in sex. This is strictly prohibited for brahmacārīs, and what to speak of a brahmacārī like Śukadeva Gosvāmī. But because the circumstances of the rāsa dance were very suspect, Mahārāja Parīkṣit inquired for clarification from Śukadeva Gosvāmī. Śukadeva Gosvāmī immediately replied that transgressions of religious principles by the supreme controller testify to His great power. For example, fire can consume any abominable thing; that is the manifestation of the supremacy of fire. Similarly, the sun can absorb water from a urinal or from stool, and the sun is not polluted; rather, due to the influence of the sunshine, the polluted, contaminated place becomes disinfected and sterilized.

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A Māyāvādī philosopher may falsely claim to be God or Kṛṣṇa, but he cannot actually act like Kṛṣṇa. He can persuade his followers to falsely imitate the rāsa dance, but he is unable to lift Govardhana Hill. We have many experiences in the past of Māyāvādī rascals who delude their followers by posing themselves as Kṛṣṇa in order to enjoy rāsa-līlā. In many instances they were checked by the government, arrested and punished. In Orissa, Ṭhākura Bhaktivinoda punished a so-called incarnation of Viṣṇu who was imitating the rāsa-līlā with young girls. There were many complaints against the so-called incarnation. At that time Bhaktivinoda Ṭhākura was a magistrate, and the government deputed him to deal with that rascal, and he punished him very severely. The rāsa-līlā dance cannot be imitated by anyone. Śukadeva Gosvāmī warns that one should not even think of imitating it. He specifically mentions that if, out of foolishness, one tries to imitate Kṛṣṇa's rāsa dance, he will be killed, just like a person who wants to imitate Lord Śiva's drinking of an ocean of poison. Lord Śiva drank an ocean of poison and kept it within his throat. The poison made his throat turn blue, and therefore Lord Śiva is called Nīlakaṇṭha.

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There are many other circumstances which also testify to the supreme authority of Kṛṣṇa and show that He is not bound by the rules and regulations of the material world. In special cases, He acts as He likes to favor His devotees. This is possible only for Him, because He is the supreme controller. People in general should follow the instructions of Lord Kṛṣṇa as given in the Bhagavad-gītā and should not even imagine imitating Lord Kṛṣṇa in the rāsa dance.

Kṛṣṇa's lifting of Govardhana Hill and His killing of great demons like Pūtanā are all obviously extraordinary activities. Similarly, the rāsa dance is also an uncommon activity and cannot be imitated by any ordinary man. An ordinary person engaged in his occupational duty, like Arjuna, should execute his duty for the satisfaction of Kṛṣṇa; that is within his power. Arjuna was a fighter, and Kṛṣṇa wanted him to fight for His satisfaction. Arjuna agreed, although at first he was not willing to fight. Duties are required for ordinary persons. They should not jump up and try to imitate Kṛṣṇa and indulge in rāsa-līlā and thus bring about their ruin. One should know with certainty that Kṛṣṇa had no personal interest in whatever He did for the benediction of the gopīs.

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The man lives simply to be attracted by women, and the woman lives simply to be attracted by men. That is the basic principle of material life. As soon as these attractions are combined, people become more and more implicated in material existence. In order to show them special favor, Kṛṣṇa exhibited this rāsa-līlā dance. It is just to captivate the conditioned souls. Since they are very much attracted by sex, they can enjoy the same life with Kṛṣṇa and thus become liberated from the material condition. In the Second Canto of Śrīmad-Bhāgavatam, Mahārāja Parīkṣit also explains that the pastimes and activities of Lord Kṛṣṇa are medicine for the conditioned souls. If they simply hear about Kṛṣṇa, they become relieved of the material disease. They are addicted to material enjoyment and are accustomed to reading sex literature, but by hearing these transcendental pastimes of Kṛṣṇa with the gopīs, they will be relieved of material contamination.

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Another important point is that none of the gopīs who danced with Kṛṣṇa were in their material bodies. They danced with Kṛṣṇa in their spiritual bodies. All their husbands thought that their wives were sleeping by their sides. The so-called husbands of the gopīs were already enamored with the influence of the external energy of Kṛṣṇa; so by dint of this very energy they could not understand that their wives had gone to dance with Kṛṣṇa. What then is the basis of accusing Kṛṣṇa of dancing with others' wives? The bodies of the gopīs, which were their husbands’, were lying in bed, but the spiritual parts and parcels of Kṛṣṇa were dancing with Him. Kṛṣṇa is the supreme person, the whole spirit, and He danced with the spiritual bodies of the gopīs. There is therefore no reason to accuse Kṛṣṇa in any way.

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That sort of bhakti is not the perfectional stage. The perfectional stage of bhakti, or devotional service, is completely free from material contamination. The most dangerous aspect of contamination is lust, or sex life. Bhaktiṁ parām devotional service is so potent that the more one advances in this line, the more he loses his attraction for material life. One who is actually deriving benefit from hearing the rāsa-līlā dance surely achieves the transcendental position. He surely loses all traces of lust in his heart.

Śrīla Viśvanātha Cakravartī Ṭhākura points out that according to the Bhagavad-gītā, Brahmā’s day and Brahmā’s night are periods of solar years expanding to 4,300,000 multiplied by 1,000. According to Viśvanātha Cakravartī Ṭhākura, the rāsa dance was performed during the long period of Brahmā’s night, but the gopīs could not understand that. In order to fulfill their desire, Kṛṣṇa extended the night to cover such a great period of time. One may ask how this was possible, and Viśvanātha Cakravartī Ṭhākura reminds us that Kṛṣṇa, although bound by a small rope, could show His mother the whole universe within His mouth.

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The gopīs of Vṛndāvana were so attached to Kṛṣṇa that they were not satisfied simply with the rāsa dance at night. They wanted to associate with Him and enjoy His company during the daytime also. When Kṛṣṇa went to the forest with His cowherd boyfriends and cows, the gopīs did not physically take part, but their hearts went with Him. And because their hearts went, they were able to enjoy His company through strong feelings of separation. To acquire this strong feeling of separation is the teaching of Lord Caitanya and His direct disciples, the Six Gosvāmīs. When we are not in physical contact with Kṛṣṇa, we can associate with Him like the gopīs, through feelings of separation. Kṛṣṇa's transcendental form, qualities, pastimes and entourage are all identical with Him. There are nine different kinds of devotional service. Devotional service to Kṛṣṇa in feelings of separation elevates the devotee to the highest perfectional level, to the level of the gopīs.

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I am aspiring for the touch of His lotuslike hand on my head. When that hand touched the presentations of King Indra and King Bali, these two became qualified to be lords of the universe, and when that hand touched the gopīs as they danced with Kṛṣṇa in the rāsa-līlā, it relieved all their fatigue.”

In this way Akrūra expected blessings from the hand of Kṛṣṇa. He knew that Indra, who is the King of heaven and the master of the three worlds—the upper, middle and lower planetary systems—was blessed by the Lord simply for his offering a little water which Kṛṣṇa accepted. Similarly, Bali Mahārāja gave only three paces of land in charity to Vāmanadeva, and he also offered a little water which Lord Vāmanadeva accepted, and thereby Bali Mahārāja attained the position of Indra. When the gopīs were dancing with Kṛṣṇa in the rāsa dance, they became fatigued, and Kṛṣṇa wiped His hand, which is as fragrant as a lotus flower growing in Mānasa-sarovara Lake, over the pearllike drops of perspiration on the faces of the gopīs, and immediately the gopīs became refreshed.

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They began to talk among themselves: "We have passed a very long night—which seemed only a moment—engaged in the rāsa dance with Kṛṣṇa. We looked at His sweet smile and embraced Him and talked with Him. Now, how shall we live even for a moment if He goes away from us? At the end of the day, in the evening, along with His elder brother Balarāma, Kṛṣṇa would return home with His friends. His face would be smeared with the dust raised by the hooves of the cows, and He would smile and play on His flute and look upon us so kindly. How shall we be able to forget Him? How shall we be able to forget Kṛṣṇa, who is our life and soul? He has already taken away our hearts in so many ways throughout our days and nights, and if He goes away, there is no possibility of our continuing to live." Thinking like this, the gopīs became more and more grief-stricken at Kṛṣṇa's leaving Vṛndāvana. They could not check their minds, and they began to cry loudly, calling the different names of Kṛṣṇa, "O dear Dāmodara! Dear Mādhava!"

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The demigods from the higher planetary systems showered flowers, congratulating Kṛṣṇa and Balarāma. Among the demigods were powerful personalities like Lord Brahmā and Lord Śiva, and all joined together in showing their jubilation over Kaṁsa's death. There were beating of drums and showering of flowers from the heavenly planets, and the wives of the demigods danced in ecstasy.

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First of all They learned how to sing, how to compose songs and how to recognize the different tunes; They learned the favorable and unfavorable accents and meters, how to sing different kinds of rhythms and melodies, and how to follow them by beating different kinds of drums. They learned how to dance to the rhythm of melody and different songs. They learned how to write dramas, and They learned the various types of painting, from simple village arts up to the highest perfectional stage. They also learned how to paint tilaka on the face by making different kinds of dots on the forehead and cheeks. Then They learned the art of making paintings on the floor with a liquid paste of rice and flour; such paintings are very popular at auspicious ceremonies performed at household affairs or in the temple. They learned how to make a resting place with flowers and how to decorate clothing and limbs with colorful paintings.

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They also learned the art of performing magical feats. Within the magical field there is an art called bahu-rūpī, by which a person dresses himself in such a way that when he approaches a friend he cannot be recognized. Kṛṣṇa and Balarāma also learned how to make various syrups and beverages required at various times, having various tastes and intoxicating effects. They also learned different types of sewing and embroidery work, as well as how to manipulate thin threads for dancing puppets. This art includes how to string wires on musical instruments, such as the vīṇā, sitar, esarāja and tamboura, to produce melodious sounds. Then They learned how to make and solve riddles. They learned the art of how even a dull student can very quickly learn the alphabet and read books. Then They learned how to rehearse and act out a drama. They also studied the art of solving crossword puzzles, filling up the missing spaces and making complete words.

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Kṛṣṇa reminded the gopīs that at the time of the rāsa dance those gopīs who could not join Him for the rāsa-līlā gave up their bodies simply by thinking of Him. Absorption in Kṛṣṇa consciousness by feeling separation is thus the quickest method for attainment of the lotus feet of Kṛṣṇa. By the personal statement of Kṛṣṇa, the gopīs were convinced about the strength of feelings of separation. They were actually experiencing the supernatural method of Kṛṣṇa worship and were much relieved by understanding that Kṛṣṇa was not away from them but always with them.

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Another gopī inquired, "Does He remember that night in the midst of kumuda flowers and moonlight, when Vṛndāvana became exceedingly beautiful? Kṛṣṇa was dancing with us, and the atmosphere was surcharged with the sound of foot bells. We exchanged pleasing conversation then. Does He remember that particular night? We remember that night, and we feel separation. Separation from Kṛṣṇa makes us agitated, as if there were fire in our bodies. Does He propose to come back to Vṛndāvana to extinguish that fire, just as a cloud appears in the sky to extinguish a forest fire by its downpour?"

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Some of the princes, as a matter of etiquette, appeared before Śiśupāla. They saw that Śiśupāla was discouraged, like one who has lost his wife. His face appeared dried up, he had lost all his energy, and all the luster of his body had disappeared. They addressed Śiśupāla thus: “Our dear Śiśupāla, don’t be discouraged in this way. You belong to the royal order and are the chief amongst the fighters. There is no question of distress or happiness for a person like you because neither of these conditions is everlasting. Take courage. Don’t be disappointed by this temporary reversal. After all, we are not the final actors; as puppets dance in the hands of a magician, we are all dancing by the will of the Supreme, and according to His plan alone we suffer distress or enjoy happiness. We should therefore be equipoised in all circumstances.”

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Long ago, when Lord Śiva was dancing in his celebrated fashion, called tāṇḍava-nṛtya, for which he is known as Naṭarāja, Bāṇāsura helped Lord Śiva in his dancing by rhythmically beating drums with his one thousand hands. Lord Śiva is well known as Āśutoṣa ("very easily pleased"), and he is also very affectionate to his devotees. He is a great protector for persons who take shelter of him and is the master of all living entities in this material world. Being pleased with Bāṇāsura, he said, "Whatever you desire you can have from me, for I am very much pleased with you." Bāṇāsura replied, "My dear lord, if you please, you can remain in my city just to protect me from the hands of my enemies."

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When the gopīs were talking in this way, their feelings for Kṛṣṇa became more and more intense, and they were experiencing Kṛṣṇa's smiling, Kṛṣṇa's words of love, Kṛṣṇa's attractive features, Kṛṣṇa's characteristics and Kṛṣṇa's embraces. By the force of their ecstatic feelings, it appeared to them that Kṛṣṇa was personally present and dancing before them. Because of their sweet remembrance of Kṛṣṇa, they could not check their tears, and they cried without consideration.

Lord Balarāma, of course, could understand the ecstatic feelings of the gopīs, and therefore He wanted to pacify them. He was expert in presenting an appeal, and thus, treating the gopīs very respectfully, He began to narrate the stories of Kṛṣṇa so tactfully that the gopīs became satisfied. To keep the gopīs in Vṛndāvana satisfied, Lord Balarāma stayed there continuously for two months, namely the months of Caitra (March–April) and Vaiśākha (April–May). For those two months He kept Himself among the gopīs, and He passed every night with them in the forest of Vṛndāvana to satisfy their desire for conjugal love. Thus Balarāma also enjoyed the rāsa dance with the gopīs during those two months.

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The soldiers on the side of King Pauṇḍraka began to shower their weapons upon Kṛṣṇa. The weapons, including various kinds of tridents, clubs, poles, lances, swords, daggers and arrows, came flying in waves, and Kṛṣṇa counteracted them. He smashed not only the weapons but also the soldiers and assistants of Pauṇḍraka, just as during the dissolution of this universe the fire of devastation burns everything to ashes. The elephants, chariots, horses and infantry belonging to the opposite party were scattered by the weapons of Kṛṣṇa. Indeed, the whole battlefield became strewn with smashed chariots and the bodies of men and animals. There were fallen horses, elephants, men, asses and camels. Although the devastated battlefield appeared like the dancing place of Lord Śiva at the time of the dissolution of the world, the warriors on the side of Kṛṣṇa were very much encouraged by seeing this, and they fought with greater strength.

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While creating such great disturbances all over the country, sometimes he heard very sweet musical sounds from Raivataka Mountain, and so he entered that mountainous region. There he saw Lord Balarāma in the midst of many beautiful young girls, enjoying their company while singing and dancing. Dvivida became captivated by the beauty of Lord Balarāma's body, whose every feature was very beautiful, decorated as He was with a garland of lotus flowers. Similarly, all the young girls present, dressed and garlanded with flowers, exhibited much beauty. Lord Balarāma seemed fully intoxicated from drinking the vāruṇī beverage, and His eyes appeared to be rolling in a drunken state. Lord Balarāma appeared just like the king of the elephants in the midst of many she-elephants.

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The chairs and other furniture were made of ivory and bedecked with gold and diamonds, and jeweled lamps dissipated the darkness within the palace. There was so much incense and fragrant gum burning that the scented fumes were coming out of the windows. The peacocks sitting on the steps became illusioned by the fumes, mistaking them for clouds, and began dancing jubilantly. There were many maidservants, all of whom were decorated with gold necklaces, bangles and beautiful saris. There were also many menservants, nicely dressed in cloaks and turbans and jeweled earrings. Beautiful as they were, the servants were all engaged in different household duties.

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There were many kings of different provinces such as Kuru, Sṛñjaya and Kekaya, and Lord Kṛṣṇa duly reciprocated greetings and respects with them. The professional reciters like the sūtas, māgadhas and vandīs, accompanied by the brāhmaṇas, offered their respectful prayers to the Lord. Performing artists like the Gandharvas, as well as the royal jokers, began to play their paṇava drums, conchshells, kettledrums, vīṇās, mṛdaṅgas and bugles, and they exhibited their dancing art to please the Lord. Thus the all-famous Supreme Personality of Godhead, Lord Kṛṣṇa, entered the great city of Hastināpura, which was opulent in every respect. While Lord Kṛṣṇa was entering the city, all the people talked amongst themselves about the glories of the Lord, praising His transcendental name, qualities, form and so on.

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Bhīmasena and King Jarāsandha engaged themselves in fighting, and with their respective clubs, which were as strong as thunderbolts, they began to strike each other very severely, both of them being eager to fight. They were both expert fighters with clubs, and their techniques of striking each other were so beautiful that they appeared to be two dramatic artists dancing on a stage. When the clubs of Jarāsandha and Bhīmasena loudly collided, the impact sounded like that of the big tusks of two fighting elephants or like a thunderbolt in a flashing electrical storm. When two elephants fight together in a sugarcane field, each of them snatches a stick of sugarcane, holds it tightly in its trunk and strikes the other. At that time the sugarcane becomes smashed by such heavy striking.

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The learning of such a person is as good as a valuable jewel decorating the hood of a serpent. Despite the valuable jewel on the hood, a serpent is still a serpent and is as fearful as an ordinary serpent. If a person does not become meek and humble, all his studies of the Vedas and Purāṇas and his vast knowledge of the śāstras are simply outward dress, like the costume of a theatrical artist dancing on the stage. Lord Balarāma considered, "I have appeared in order to chastise false persons who are internally impure but externally pose themselves as very learned and religious. My killing of such persons is proper, to check them from further sinful activity."

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When Lord Balarāma appeared on the scene, King Yudhiṣṭhira and his younger brothers Nakula and Sahadeva, as well as Lord Kṛṣṇa and Arjuna, immediately offered Him their respectful obeisances, but they did not speak at all. The reason they were silent was that Lord Balarāma was somewhat affectionate toward Duryodhana, who had learned from Balarāmajī the art of fighting with a club. When the fighting was going on, King Yudhiṣṭhira and others thought that Balarāma might have come there to say something in favor of Duryodhana, and they therefore remained silent. Both Duryodhana and Bhīmasena were very enthusiastic in fighting with clubs, and, in the midst of a large audience, each very skillfully tried to strike the other. While attempting to do so they appeared to be dancing, but nonetheless it was clear that both of them were very angry.

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My curling hair encircled my face, which shone with a bright luster due to the reflection of my various earrings. My eyes blinking, I first observed all the princes present, and when I reached my Lord I very slowly placed the golden necklace on His neck. As I have already informed you, from the very beginning my mind was attracted by Lord Kṛṣṇa, and thus I considered the garlanding of the Lord my great victory. As soon as I placed my garland on the neck of the Lord, there sounded immediately the combined vibration of mṛdaṅgas, paṭaha and ānaka drums, conchshells, kettledrums and other instruments, causing a tumultuous sound, and while the music played, expert male and female dancers began to dance, and singers began to sing sweetly.

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When everything was complete, there was heard the vibration of mṛdaṅgas, conchshells, kettledrums and other musical instruments. Professional dancers, both male and female, began to dance. The sūtas and māgadhas, who were professional singers, began to offer prayers by singing. And the Gandharvas and their wives, whose voices were very sweet, began to sing many auspicious songs. Vasudeva anointed his eyes with black cosmetic, smeared butter over his body and then, along with his eighteen wives, headed by Devakī, sat before the priests to be purified by the abhiṣeka ceremony. While the ceremony was being observed strictly according to the principles of the scriptures, Vasudeva resembled the moon encircled by stars. Because he was being initiated for the sacrifice, he was dressed in a deerskin, but all his wives were dressed with very nice saris, bangles, necklaces, ankle bells, earrings and many other ornaments. Vasudeva looked very beautiful surrounded by his wives, exactly like the King of heaven when he performs such sacrifices.

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After the performance of the different sacrifices, Vasudeva offered ample riches, clothing, ornaments, cows, land and maidservants to the priests. Thereafter, all the wives of Vasudeva took their avabhṛtha baths and performed the part of the sacrificial duties known as patnī-saṁyāja. After finishing the offering with all the required paraphernalia, they all took their baths together in the lakes constructed by Paraśurāma, which are known as the Rāma-hrada. After Vasudeva and his wives took their baths, all the garments and ornaments they had worn were distributed to the subordinate persons engaged in singing, dancing and similar activities. We may note that the performance of sacrifice necessitates the profuse distribution of riches. Charity is offered to the priests and the brāhmaṇas in the beginning, and used garments and ornaments are offered in charity to the subordinate assistants after the performance of the sacrifice.

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Meanwhile, the brāhmaṇa Śrutadeva, simultaneously receiving Lord Kṛṣṇa and His associates at his home, was transcendentally overwhelmed with joy. After offering his guests nice sitting places, the brāhmaṇa began to dance, waving around his wrap. Śrutadeva, being not at all rich, offered only mattresses, wooden planks, straw carpets and so on to his distinguished guests, Lord Kṛṣṇa and the sages, but he welcomed them to the best of his ability. He spoke very highly of the Lord and the sages, and he and his wife washed the feet of each one of them. After this, he took the water and sprinkled it over all the members of his family, and although the brāhmaṇa appeared very poor, he was at that time most fortunate.

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The Vedas personified continued. "Dear Lord," they prayed, "You are equal to all, with no partiality toward a particular type of living entity. It is due to their own material desires that all living entities enjoy or suffer in different conditions of life. As Your parts and parcels, they are just like the sparks of a fire. Just as sparks dance in a blazing fire, all living entities are dancing on Your support. You are providing them with everything they desire, and yet You are not responsible for their position of enjoyment or suffering. There are different types of living entities—demigods, human beings, animals, trees, birds, beasts, germs, worms, insects and aquatics—and all enjoy or suffer in life while resting on You."

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The conclusion is, therefore, that everyone is under the control of the Supreme Personality of Godhead, everyone is serving under the supreme direction of the Lord, and everyone is afraid of the Supreme Personality of Godhead. It is out of fear of Him that activities are rightly executed. Everyone's position is to be subordinate to the Supreme Lord, yet the Lord has no partiality in His view of the living entities. He is just like the unlimited sky; as the sparks of a fire dance in the fire, similarly, all living entities are like birds flying in the unlimited sky of the Supreme Lord. Some of them are flying very high, some are flying at a lower altitude, and some are flying at a still lower altitude. The different birds are flying in different positions according to their respective abilities, but the sky has nothing to do with this ability.

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Then in the next millennium, according to this theory, Brahman again expands in different bodily forms. If we accept this theory, then Brahman becomes subject to change. But this cannot be accepted. From the Vedānta-sūtra we understand that Brahman is by nature joyful. He cannot, therefore, change Himself into a body which is subject to so many painful conditions. Actually, the living entities are infinitesimal parts and parcels of Brahman, and as such they are prone to be covered by the illusory energy. As explained before, the particles of Brahman are like sparks blissfully dancing within a fire, but there is a chance of their falling from the fire to smoke, although smoke is another condition of fire. This material world is just like smoke, and the spiritual world is like a blazing fire. The innumerable living entities are prone to fall down to the material world from the spiritual world when influenced by the illusory energy, and it is also possible for the living entity to be liberated again when by cultivation of real knowledge he becomes completely freed from the contamination of the material world.

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So Kṛṣṇa, the chief of the Vṛṣṇi dynasty, enjoyed with the goddess of fortune in full opulence. The queens of Kṛṣṇa are described as permanently youthful and beautiful. Although Kṛṣṇa had grandchildren and great-grandchildren, neither Kṛṣṇa nor His queens looked older than sixteen or twenty years of age. The young queens were so beautiful that when they moved they appeared like lightning moving in the sky. They were always dressed with excellent ornaments and garments and were always engaged in sportive activities like dancing, singing or playing ball on the roofs of the palaces. The dancing and tennis playing of girls in the material world are perverted reflections of the original pastimes of the original Personality of Godhead, Kṛṣṇa, and His wives.

Renunciation Through Wisdom

Renunciation Through Wisdom 5.1:

All the Supreme Lord's pastimes are eternal. Those who doubt this are impersonalists. When one tries to gauge the omnipotent Supreme Godhead with a limited measuring principle, one is drawn to the impersonal concept. One must carefully avoid this all-devouring philosophy. When Śrī Nārada Muni saw how Lord Kṛṣṇa had expanded Himself in His original form and was dancing with many gopīs simultaneously, he realized that Lord Kṛṣṇa was the Supreme Personality of Godhead, the source of everything. Lord Kṛṣṇa is always being served and worshiped by Śrīmatī Rādhārānī, yet He expands Himself unlimitedly. Just as a candle can light other candles yet remain unchanged, so the Supreme Lord, though "one without a second," can expand Himself in unlimited forms, and also as the omnipresent, all-pervading, universal soul. This is direct proof of the Supreme Lord's absolute divinity.

Renunciation Through Wisdom 5.1:

By studying the Vedas, the Vedānta-sūtra, and the Upaniṣads, one may find processes for purifying the consciousness and elevating oneself to the transcendental platform. But for the conditioned souls of Kali-yuga, such means are beyond reach. Lord Caitanya alone can liberate the conditioned souls of this age. In His younger days Lord Caitanya was known as Nimāi Paṇḍita because He was an erudite scholar. Indeed, He became famous as a master of logic. Yet for the sake of the jīvas afflicted by the Kali-yuga, He presented Himself as illiterate. Such pastimes are possible only for the Supreme Lord. When the famous Māyāvādī sannyāsī Prakāśānanda Sarasvatī met Lord Caitanya in Benares, he spoke as follows to the Lord: "I see You are a sannyāsī, yet You are in the company of sentimentalists, and like them You are dancing and singing. The real business of sannyāsīs is to study the Vedas and meditate on Brahman. But You have rejected these duties and are acting like a sentimentalist. I am impressed with Your effulgent form, which resembles that of Lord Nārāyaṇa Himself, but why do You act below your status?"

Light of the Bhagavata

Light of the Bhagavata 2, Purport:

And what is that folly? In Bhagavad-gītā it is said that people should perform yajñas, or sacrifices for the satisfaction of the Supreme. The Supreme is all-pervading. Therefore people must learn to perform yajñas to satisfy the all-pervading Supreme Truth. There are different yajñas prescribed for different ages, and in the present age of iron industry the yajña that enlightens the mind of the masses for God consciousness is recommended. This process of yajña is called the saṅkīrtana-yajña, or mass agitation for invoking man's lost spiritual consciousness. As soon as this movement is taken up through spiritual singing, dancing, and feasting, the people will automatically become obedient and honest.

Light of the Bhagavata 17, Purport:

It is the duty of the saints and sages to enlighten the fallen souls, and reciprocally it is the duty of the householder to receive the saints and sages cordially, as the peacock dances in ecstasy at the presence of clouds in the sky. The fire of threefold miseries experienced by materialistic men can be extinguished only by the cloud of mercy of the saints and sages who can pour down the water of transcendental messages to put an end to the miseries of the householders.

Sri Isopanisad

Sri Isopanisad 7, Purport:

The living beings who are encaged in the material tabernacle are constantly seeking enjoyment, but they are seeking it on the wrong platform. Apart from the material platform is the spiritual platform, where the Supreme Being enjoys Himself with His innumerable associates. On that platform there is no trace of material qualities, and therefore that platform is called nirguṇa. On the nirguṇa platform there is never a clash over the object of enjoyment. Here in the material world there is always a clash between different individual beings because here the proper center of enjoyment is missed. The real center of enjoyment is the Supreme Lord, who is the center of the sublime and spiritual rāsa dance. We are all meant to join Him and enjoy life with one transcendental interest and without any clash. That is the highest platform of spiritual interest, and as soon as one realizes this perfect form of oneness, there can be no question of illusion (moha) or lamentation (śoka).

Sri Isopanisad 8, Purport:

Only the Supreme Lord is self-sufficient. When Lord Kṛṣṇa appeared on earth five thousand years ago, He displayed His full manifestation as the Personality of Godhead through His various activities. In His childhood He killed many powerful demons, such as Aghāsura, Bakāsura and Śakaṭāsura, and there was no question of His having acquired such power through any extraneous endeavor. He lifted Govardhana Hill without ever practicing weight-lifting. He danced with the gopīs without social restriction and without reproach. Although the gopīs approached Him with a paramour's feelings of love, the relationship between the gopīs and Lord Kṛṣṇa was worshiped even by Lord Caitanya, who was a strict sannyāsī and rigid follower of disciplinary regulations. To confirm that the Lord is always pure and uncontaminated, Śrī Īśopaniṣad describes Him as śuddham (antiseptic) and apāpa-viddham (prophylactic). He is antiseptic in the sense that even an impure thing can become purified just by touching Him.

Narada-bhakti-sutra (sutras 1 to 8 only)

Narada Bhakti Sutra 6, Purport:

One who becomes affected by the pleasure potency of the Supreme Lord manifests various symptoms of ecstasy, such as slackening of the heart, laughing, crying, shivering, and dancing. These symptoms are not material. However, exhibiting such ecstatic symptoms just to get credit from the public is not approved by pure devotees. Śrīla Bhaktisiddhānta Sarasvatī Prabhupāda says, "Persons without attainment of the highest perfectional stage of loving service cannot achieve any auspiciousness simply by artificially laughing, crying, or dancing without any spiritual understanding. Artificial movement of the body... must always be rejected. One should wait for the natural sequence within devotional service, and at that time, when one cries or dances or sings, it is approved. A person artificially showing symptoms of the pleasure potency creates many disturbances in the ordinary way of life."

One who attains the perfectional stage of devotional service under the guidance of a bona fide spiritual master may preach the science of devotion as Lord Caitanya did. When Lord Caitanya preached, He danced and showed other symptoms of ecstasy.

Page Title:Dancing (Other Books)
Compiler:Mayapur
Created:01 of Oct, 2011
Totals by Section:BG=0, SB=0, CC=0, OB=139, Lec=0, Con=0, Let=0
No. of Quotes:139