Śrī kṛṣṇakarṇāmṛtam

dvitīyāŚvāsaḥ

2.1
abhinavanavanīta snigdham āpītadugdhaṁ

dadhikaṇa paridigdhaṁ mugdhamańgaṁ murāreḥ

diśatu bhuvana-kṛcchr-acchedi tāpiñchaguccha-

cchavi navaśikhipiñchā lāňchitaṁ vāňchitaṁ naḥ

abhinava — fresh ; navanīta — butter; snigdham — sticky; āpīta — drunk up; dugdhaṁ — milk ; dadhi
— curd ; kaṇ — drop or particle ; pari-digdhaṁ — all sides smeared ; mugdha- mańgaṁ — charming
and auspicious ; murāreḥ — enemy of mura (Kṛṣṇa) ; diśatu — let it give; bhuvana — worlds; kṛcchr —
calamity; acchedi — destroyer; tāpiñcha-guccha — vibhitakah (ayurvedic tree) flower bunch; cchavi
— colour of skin; nava- sikhipiñchā — new peacock’s feather; lāňchitaṁ — decorated; vāňchitaṁ —
wished; naḥ — us

we wish murāreḥ! The one eats sticky butter and drinks up milk and curd, with droplets of
sticky butter, milk and curd fully smeared on his charming face. The destroyer of calamities
that befall the entire world, whose body is adorned with colour resembling the vibhitakah
tree and his head decorated with a new peacock feather protect us

2.1
yāṁ dṛṣṭvā yamunāṁ pipāsu-raniśaṁ vyūho gavāṁ gāhate

vidyutvāniti nīlakaṇṭhanivaho yāṁ draṣṭumutkaṇṭhate

uttaṁsāya tamālapallavamiti cchindanti yāṁ gopikāḥ

kāntiḥ kāliyaśāsanasya vapuṣaḥ sā pāvanī-pātu naḥ

yāṁ —when; dṛṣṭvā — having seen; yamunāṁ — river yamuna;

pipāsu — thirsty; raniśaṁ — for battle; vyūho — array formation (marching like army); gavāṁ — cows;
gāhate — rushes; vidyutvāniti — with the brilliance of lightning; nīlakaṇṭha — blue necked; nivaho —
cluster; yāṁ — when; draṣṭumutkaṇṭhate — eager to see; uttaṁsāya — of the best; tamālapallavamiti —
this tamāla tree’s leaves; acchindanti — cut off; yāṁ — whom; gopikāḥ — cowherd girls (gopis); kāntiḥ
— brilliance; kāļiyaśāsanasya — of kaliya’s abode; vapuṣaḥ — beautiful; sā — she; pāvanī — purifying;
pātu — protect; naḥ — us

when the cows catch sight of the yamuna, they rush to quench their thirst However, when they see
krishna with enchanting blue neck, their eagerness transcends mere physical thirst Their eyes, thirsty for
the nectar of Kṛṣṇa’s divine form, drinking deeply, forsaking the water of the yamuna and in
the process. On that side, a gopi went to cut best tamāla trees leaves on the bank of kaliya’s
 abode (Yamuna) and witnessed this transcendental activity. She became purified by this
divine sight, that purification protect us

2.3
devaḥ pāyāt-payasi vimale yāmune majjatīnāṁ

yācantīnām-anunayapadai-rvañcitā nyaṁsukāni

lajjālolai-ralasavilasai-runmiṣat-pañcabāṇai-

rgopastrīṇāṁ nayana-kusumai-rarcitaḥ keśavo noḥ

devaḥ — the divine lord; pāyāt-payasi — may protect in the payasa; vimale — pure or pleasant;
yāmune — in the Yamuna; majjatīnāṁ — immersed (bathing gopis); yācantīnām — asking; anunaya-
padai — appeasing on feet (humble requests); vañcit — tricked; nyaṁsukāni — justice pleasing;
lajjālolai — with shy glance; ralasavilasai — with languid and playful movements; runmiṣat —
winking; pañcabāṇai — with five arrows; rgopastrīṇāṁ — of cowherd women; nayana-kusumai-
rarcitaḥ —with flowers of eyes worshipped; keśavo — Kṛṣṇa; noḥ —us

The gopis bathe in the pure and sweet yamuna river, (in milk river of Yamuna gopis like
rice in payasa sweet rice). Kṛṣṇa mischievously steals their clothes and place them on a
tree. Gopis with a mix of shyness and playful gestures, appeal for justice, seeking return of
their clothing. their appeal includes pleasing request and expressions such as languid
movements, winking, and the metaphorical five arrows of cupid’s intensity of love.
Eventually, the gopis with the flowers of their eyes, worship Kṛṣṇa, that prayers will
protect us.

Kamadeva is often depicted with a bow and five arrows, each with its unique power.

1) harṣhaṇa: This arrow induces joy and delight. When struck by this arrow, the target
feels happiness and blissful emotions associated with love.

2) rocana: The arrow rocana makes the target attractive and appealing. It enhances the
physical and emotional allure of the person struck by it.

3) mohana: mohana arrow causes infatuation and captivation. The person hit by this
arrow becomes infatuated and deeply enamoured with the source of the arrow.

4) Śoṣaṇa: This arrow has the power to dry up or absorb one’s emotions. It creates a sense
of longing and yearning, making the target seek the presence of the one who shot the
arrow.

5)Taraṇa: The Taraṇa arrow is for dispelling resistance or reluctance. When struck by this
arrow, any barriers or inhibitions in the heart of the target are overcome, and they
become more open to the feelings of love.

2.4
 mātarnātaḥ paramanucitaṁ-yat-khalānāṁ-purastā-

dastā´
-sańkaṁjaṭhara-piṭharī-pūrtaye nartitāsi

tat-kṣantavyaṁ-sahajasaraĺe vatsale vāṇi ! kuryāṁ

prāyaścittaṁ guṇagaṇ anayā gopaveṣasya viṣṇoh

mātarnātaḥ — bowed to the mother; paramanucitaṁ — extremely suitable; yat — that; khalānāṁ —
villain; pura-stādastā — front of stadium; dastā´— belly; sańkaṁjaṭhara-piṭharī-pūrtaye — for the
purpose of filling; nartitāsi —dance; tat — used accordingly; kṣantavyaṁ- — appease; sahajasaraĺe —
naturally simple; vāṇi — traded; kuryāṁ — I perform; prāyaścittaṁ — expiation; guṇagaṇ — praising
glories; gopaveṣa — the dress of a cowherd boy; asya — him; viṣṇoh — lord viṣṇoh

O mother Saraswati! for the purpose of filling my belly, I utilized your blessings in the face of adversity
and dance in accordance with them. I pray, O naturally simple one, I will spend the rest of my life
praising the glories of Lord Vishnu in the form of a cowherd boy.

2.5
ańgulyagrai-raruṇkiraṇai rmuktasaṁruddharandhraṁ
vāraṁ-vāraṁ vadanamarutā veṇu māpūrayantam
vyatyastā-ńghriṁ vikaca-kamalacchāya-vistāranetraṁ
vande vṛndāvanasucaritaṁ nandagopālasūnum
ańgulyagrai — from finger tips; aruṇkiraṇai — sun light (at morning sunlight with reddish tint called
Aruna Kirana); mukta — pearls; saṁruddha — constrained/obstructed; randhraṁ — holes; vāraṁ-
vāraṁ — again and again; vadanamarutā — nectar like face; veṇu — flute; mā — with measure;
pūrayantam — filling up with air; vyatyastā — crossed legs; ńghriṁ — lotus feet; vikaca — bloomed;
kamalacchāya — lotus shaded; vistāranetraṁ — prolonged eyes; vande — I offer respectful
obeisances; vṛndāvana-su-caritaṁ — Vrindavan’s good deeds result; nandagopālasūnum — son of
nandagopālas

I offer respectful obeisances to the son of Nanda Maharaja, the embodiment of the
virtuous deeds of Vrindavan With his reddish sun beams like fingers, he skilfully plays
flute, which looks like cleansing the very same holes as if removing impurities from pearls,
again and again fills with perfect measure fills his nectar breaths, his Tamala tree-like
legs gracefully cross in the tribhanga pose, and his lotus feet one fully touching the sacred
soil of Vrindavan, while the other delicately caresses it. Through his extended lotus eyes,
he gazes in all directions, beholding the enchanting scenes of this divine land.

2.6
mandaṁ madam madhuraninadai-rveṇu-māpūrayantaṁ

bṛndaṁ bṛndāvanabhuvi gavāṁ cārayantaṁ carantam

chandobhāge śata-makha-mukhadhvaṁsināṁ dānavānāṁ

hantāraṁ taṁ kathaya rasane! gopakanyābhujańgam

mandaṁ- mandaṁ — slowly-slowly; madhuraninadai — sweet sound; rveṇu — flute; mpūrayantam —
filling up with air; bṛndaṁ — groups; bṛndāvana-bhuvi — land of Vrindavan; gavāṁ — of cows;
cārayantaṁ — moving; carantam — for tending; chandobhāge — land of vadas; sata-makhamukha-
dhvaṁsināṁ —thousand eyed Indra ego destroyed; dānavānāṁ — demon; hantāraṁ — killed; taṁ —
him; kathaya — narrate; rasane —O tongue; gopaka-nyābhujańgam — the arm of cowherd’s girls;

In Vrindavan, the land of vadas, slowly-slowly vibrates his flute, skilfully blowing a
measured quantity of air with his lips resembling Bimba fruits, while heading into the
forest to tend to the herds. There, he destroyed the ego of thousand-eyed Indra and
defeated numerous demons. Our tongue narrates the pastimes of Kṛṣṇa who resembling the
arms of the Gopi’s

2.7
veṇīmūle viracita-ghanaśyāma-piñchāvacūdo

vidyullekhā-valayita iva snigdhapītāmbareṇa

māmālińga-nmarakatamaṇ istambha-gaṁbhīra-bāhuḥ

svapne dṛṣṭa staruṇa-tulasī-bhūṣaṇo nīlameghah

veṇīmūle — braided hair; viracita — formed; ghanaśyāma — thick and dark like a rain cloud;
apiñchāvacūdo — adorned with a peacock feather; vidyullekhā — lightning like a streak; valayita — put
around; iva — like; snigdhapītāmbareṇa — with a soft yellow garment; mā-mālińga —not impure;
marakatamaṇ — gem; istambha-gaṁbhīra-bāhuḥ — pillar like huge hands; svapne — in a dream; dṛṣṭa
—seen; staruṇa —youthful; tulasī-bhūṣaṇo —decorated with Tulasi mala; nīlameghah — like a freshly
formed blue cloud

Bilvamaṅgala Ṭhākura says, in my dream, I saw Kṛṣṇa with skilfully braided hair
adorned with peacock feathers at its tips, resembling brilliant lightning. He wore yellow
garments resembling thunderbolts, and gems like marketmani adorned him. With strong
and beautiful hands, wearing a Tulasi mala, he appeared like a freshly formed cloud
ready to shower his love on close associates

2.8
kṛṣṇe hṛtvā vasananicayaṁ kūlakuñjādhirūḍhe

mugdhā kāci-nmuhu-ranunayaiḥ kinviti vyāhara ntī

sabhrūbhańgaṁ sadarahasitaṁ satrapaṁ sānurāgaṁ

chāyāśaureḥ karatalagatā-nyambarā-ṇyācakarṣa

kṛṣṇe — lord kṛṣṇa; hṛtvā — having stolen; vasananicayaṁ — cloths collection; kūlakuñjādhirūḍhe —
placed on a swinging cluster of groves; mugdhā — charming; kāci — some; nmuhu — again;
ranunayaiḥ — friendly persuasion; kinviti — what kind? ; vyāhara ntī — speaking; sabhrūbhańgaṁ —
knitting the brows; sadarahasitaṁ — with typical smile; satrapaṁ — bashful; sānurāgaṁ —
passionately; chāyāśaureḥ — shadow form; karatalagatā — moving on the palm of the hand;
nyambarā — the garments; ṇyācakarṣa — started pulling

When kṛṣṇa took the garments and placed on clustered groves in the banks of Yamuna. Subsequently,
he ascended a tree with the stolen clothes, the gopis initially approached him with requests to return
them. After a series of appeals, one gopi, transcendent in her approach, knit her brows with a typical
smile on her face. With friendly persuasion, she addressed him, What kind of actions is this? Then, with
 graceful hands, she began pulling the shadow of the stolen garments held in the hands of kṛṣṇa‘s
shadow.

2.9
api januṣi parasmi nnātta-puṇyo bhaveyaṁ

taṭabhuvi yamunāyā-stādṛśo vaṁśanālaḥ

anubhavati ya eṣaś-śrīmad-ābhīrasūno-

radharamaṇi-samīpanyāsadhanyā mavasthām

api — I; januṣi — this birth; parasmi — another; nnātta-puṇyo —attened pious; bhaveyaṁ — might be;
taṭabhuviyā — shore; yamunāyā — Yamuna River; stādṛśo — such; vaṁśanālaḥ — bamboo flute;
anubhavati — experience; ya — who; eṣaś— this; srīmad —gloriously delightful; ābhīrasūno — son of
the cowherd community; radharamaṇi — Radha rani; samīpanyāsadhanyā — sitting nearby;
mavasthām — state/ condition

Perhaps not in this life, but in the next, I aspire to attain such a pious birth. I wish to take root on the
shores of Yamuna River as a bamboo tree, bask in the warmth of the sun, and bear hallows that would
lead me to a sacred state. In that state, I dream of being fashioned into a flute, finding myself on the lips
of kṛṣṇa, while Radha Rani sits beside him in divine harmony.

2.10
ayi paricinu cetaḥ prātarambhojanetraṁ

kabara-kalita-cañcat-piñchadāmābhirāmam

valabhidupalanīlaṁ vallavībhāgadheyaṁ

nikhilanigama-vallīmūlakandaṁ mukundam

ayi — O; paricinu — behold; cetaḥ — heart; prātarambhojanetraṁ — the like whose eyes are like a
morning lotus; kabara-kalita-cañcat — crown adorned with playful; piñchadāmābhirāmam —
charming peacock feather; valabhidupalanīlaṁ — indranilamani; vallavībhāgadheyaṁ — with Gopi’s;
nikhilanigama-vallīmūlakandaṁ — root and stem of the all vadas; mukundam —mukthi-data Mukunda

O heart, behold forever Mukunda, whose eyes resemble morning lotuses, and whose hair is
adorned with the charming feathers of a peacock. He, is the source and subject matter of
all vadas and Upanishads, the gracious bestower of ultimate freedom.

2.11
ayi murali mukunda-smera-vaktrāravinda-

śvasa-namadhura-sajñe tvāṁ praṇamyādya yāce

adharamaṇisamīpaṁ prāpta-vatyāṁ bhavatyāṁ

kathaya rahasi karṇe madd-aśāṁ nandasūnoḥ

ayi — O; murali — flute; Mukunda — Lord kṛṣṇa; smera — smiling; vaktrāravinda — lotus face; svasa-
namadhura —sweetness of breath; sajñe — known one; tvāṁ — you; praṇamyādya — bowing down
initially; yāce — I pray; adharamaṇisamīpaṁ — near to gems like lips; prāptavatyāṁ — having
obtained; bhavatyāṁ — in you; kathaya — narrate; rahasi — secretly; karṇe — in ears; madd — mine;
asāṁ — being pleased; nandasūnoḥ —to son of nanda Maharaja
O Murali, you have savored the sweetness of the breath from a smiling lotus face. I bow down, seeking a
boon, that when you request upon the jewel-like lips, secretly whisper in the ears of son of nanda
maharaja about me sweetly.

2.12
Sajala-jaladanīlaṁ vallavī keĺilolaṁ

śrita-suratarumūlaṁ vidyudullāsi-celam

Suraripu-kula-kālaṁ sanmanobimbalīlaṁ

natasuramunijālaṁ naumi gopālabālam

Sajala — water; jaladanīlaṁ — bluish cloud; vallavī — Gopis; keĺilolaṁ — playing; srita — surrender;
suratarumūlaṁ — base of desire tree; vidyudullāsi — shining like thunder; celam — cloth; Suraripu-
kula-kālaṁ — destroyer of demons; san-mano-bimbalīlaṁ —play in heart of devotes; nata-sura-muni-
jālaṁ — millions of Gods, Muni’s bowing down; gopālabālam — young cowherd boy

In the colour of a freshly formed cloud, Krishna, engaged in playful exploits with the
Gopis, for those who surrender, he become the wish-fulfilling tree, and for demons, he
embodies Yamaraja, the lord of death. Millions of deme gods, demons, sages, and celestial
beings bow down in reverence to young cowherd boy.

2.13
adhara bimba viḍambita vidrumaṁ

madhura veṇu nināda vinodinam

kamala komala kamra mukhāmbujaṁ

kamapi gopa kumara mupāsmahe

adhara — lips; bimba — like bimba fruit; viḍambita — illuminated; vidrumaṁ — coral; madhura —
sweet; veṇu — flute; nināda — sound; vinodinam — delighting; kamala — lotus; komala — soft; kamra
— desirous; mukhāmbujaṁ — lotus face; kamapi — everyone; gopa kumara — son of gopa’s Kṛṣṇa;
mupāsmahe — worship;

I worship the son of the Gopis, whose lips resemble illuminated coral-red bimba fruit. The
sweet vibration of his flute bring delight to all planetary systems in transcendental bliss.
Even soft lotus flower yearns for the vision of his lotus face.

In gopi gita also gopis says (SB 10.31.2)

śarad-udāśaye sādhu-jāta-sat-
sarasijodara-śrī-muṣā dṛśā

in beauty Your glance excels the whorl of the finest, most perfectly formed lotus within the
autumn pond.

2.14
adhare viniveśya vaṁśanāĺaṁ vivarāṇyasya salīla mañguĺībhiḥ

muhura ntarayan-muhur-vivṛṇva nmadhuraṁ-gāyati-mādhav-onānte

adhare — on the lips; viniveśya — placed; vaṁśanāĺaṁ — the bamboo flute; vivarāṇyasya — holes; salīla
— with ease; mañguĺībhiḥ — by the fingers; muhura — again and again; ntarayan — covering; muhur
— again and again; vivṛṇva — opening; nmadhuraṁ — sweet pleasantly; gāyati — singing; mādhav —
mādhava; onānte — forest

In the forest one day, Mādhava placed his bamboo flute on his lips, covering and uncovering the holes
again and again, creating a delightful melody.

2.15
vadane navanīta-gandha-vāhaṁ

vacane taskara-cāturīdhurīṇam

nayane kuhunāśrum-āśrayethā-

ścaraṇe komala-tāṇḍavaṁ kumāram

vadane — face; navanīta — Butter; gandha — fragrance; vāhaṁ — carrier; vacane — speech; taskara —
thief; cāturi-idhurīṇam — skilful surpassing; nayane — eyes; kuhunāśrum — fake crying; āśrayethā —
taken shelter; ścaraṇe — lotus feet; komala — soft; tāṇḍavaṁ — dance; kumāram — young boy

I pray to him whose face radiates the fragrance of fresh butter, whose speech is as cunning
and skilful as a clever thief, whose eyes take refuge in feigned tears, and whose lotus feet
elegantly preform a soft dancing young boy.

2.16
Amunākhilagopa-gopanārthaṁ

yamunārodhasi nandanandanena

damunā vanasambhavaḥ pape naḥ

kimu nāsau śaraṇ ārthināṁ śaraṇyaḥ

amunā — rushing; khilagopa — all gopa’s; gopanārthaṁ — guarding; yamunārodhasi — on the banks of
river Yamuna; nandanandanena — son of nanda maharaja; damunā — fire; vanas-ambhavaḥ — born
in the forest; pape — drank; naḥ — our; nā -sau — not he; śaraṇ — surrendered; ārthināṁ — for those
in distress; śaraṇyaḥ — protect’s us?

For the protection of all the gopi’s and the cattle, he rushed to quench the forest fire by
drinking it. I don’t he protect us,

2.17
Jagad-ādaraṇīya-jārabhāvaṁ

Jalajāpatya-vaco-vicāra-gamyam

tanutāṁ taunted śivetarāṇāṁ

suranāthopalasundaraṁ maho nah

Jagad — world; ādaraṇīya — adorable; jārabhāvaṁ — decaying nature; Jalajāpatya —born from lotus
(Lord Brahma); vaco — by words; vicāra — studying; gamyam — being understood;

2.18
 yā śekhare śrutigirāṁ hṛdi yogabhājāṁ

pādāmbuje ca sulabhā vrajasundarīṇām

sā kā pi sarvajagatām-abhirāmasīmā

kāmāya no bhavatu gopakiśoramūrtih

yā — who; śekhare — on the top; śrutigirāṁ — Vedic knowledge; hṛdi — heart; yogabhājāṁ — among
those teachings; pādāmbuje — lotus feet; ca — and; sulabhā — easy to Atten; vrajasundarīṇām — vraja
gopi’s; sā — she; kā — who; pi — even; sarvajagatām — whole worlds (14 planetary system);
abhirāmasīmā — peak of enchanting, delightful; kāmāya — desirable; no — you; bhavatu — obtained;
gopakiśoramūrtih — young gopa’s boy’s form of krishna

I desire to embrace within in my heart the for of the young cowherd boy, the epitome of
knowledge found in the heart of vadas, his lotus feet are easily accessible to the beautiful
gopis, and he joyously delights the entire universe limitlessly with his transcendental
blessing

2.19
Atyantabālam-atasīkusuma-prakāśaṁ

digvāsasaṁ kanakabhūṣaṇa-bhūṣitāńgam

visrastakeśa maruṇādhara-māyatākṣaṁ

kṛṣṇaṁ namāmi manasā Vasudevasūnum

atyantabālama — very young; atasīkusuma — blue lotus; prakāśaṁ — shining; digvāsasaṁ — wear
garments in all direction; kanakabhūṣaṇa — golden jewellery; bhūṣitāńgam — whole body decorated;
visrastakeśa — long hairs; maruṇādhara — red lips; māyatākṣaṁ — long eyes; kṛṣṇaṁ — Kṛṣṇa; namāmi
— named; manasā — O heart; Vasudevasūnum — son of vasudeva;

O heart, eternally cherish the form of the very young son of vasudeva. He resembles a blue
lotus, donned in garments that unfurl in all directions, his turban adorned by mother
Yashoda, rendering him irresistibly attractive from every angle. Bedecked with jewels,
including node ring and earring, an elephant pearl gently sways on his nose, kissing upper
lip. His soft lustrous black hair, lips resembling red fruits, and long, enchanting eyes
embellished with graceful mascara.

In this vears krishna was decorated, dressed by mother Yashoda. In same way gopas also
decorated krishna which was explain in Bhagavatam

1) By Brahma in (SB 10.14.1)

naumīḍya te ’bhra-vapuṣe taḍid-ambarāya
guñjāvataṁsa-paripiccha-lasan-mukhāya
vanya-sraje kavala-vetra-viṣāṇa-veṇu-
lakṣma-śriye mṛdu-pade paśupāṅgajāya

2) By wife’s brāhmaṇas (SB 10.23.22)

śyāmaṁ hiraṇya-paridhiṁ vanamālya-barha-
dhātu-pravāla-naṭa-veṣam anavratāṁse
vinyasta-hastam itareṇa dhunānam abjaṁ
karṇotpalālaka-kapola-mukhābja-hāsam
 3) By Gopis in venu gita (SB 10.21.5)
barhāpīḍaṁ naṭa-vara-vapuḥ karṇayoḥ karṇikāraṁ
bibhrad vāsaḥ kanaka-kapiśaṁ vaijayantīṁ ca mālām
randhrān veṇor adhara-sudhayāpūrayan gopa-vṛndair
vṛndāraṇyaṁ sva-pada-ramaṇaṁ prāviśad gīta-kīrtiḥ

2.20
hastāńghri-nikvaṇitaka ńkaṇa kińkiṇīkaṁ

madhyenitambam avalambita-hemasūtram

muktā-kalāpa-mukulīkṛta-kākapakṣaṁ

vandāmahe vrajavaraṁ vasudevabhāgyam

hastā — hands; nikvaṇitaka — feet sound; ńkaṇa — sound; kińkiṇīkaṁ — decorated with small bells;
madhyenitambam — in the middle west region; avalambita — hanging; hemasūtram — were golden
chain; muktā-kalāpa-mukulīkṛta — adorned with string of pearls arranged in clusters; kākapakṣaṁ —
like wings of parrot; vandāmahe — we bow down; vrajavaraṁ — best among vrajavasi’s;
vasudevabhāgyam — fortune of vasudeva;

we bow down to the best among the residents of Vraja, whose hand and feet are adorned
with anklets and small bells that chime melodiously as he walks. A golden chain gracefully
hangs at his waist, and a string of pearls encircles him, resembling a parrot in flight from
the front. He is the very embodiment of Vasudeva’s good fortune.

2.21
bṛndāvana-druma-taleṣu gavāṁ gaṇeṣu

vedāvasāna-samayeṣu ca dṛśyate yat

tadveṇu-nādanaparaṁ śikhipiñchacūḍaṁ

brahma-smarāmi kamalekṣaṇ amabhranīlam

bṛndāvana — Vrindavan; druma — trees; taleṣu — place; gavāṁ — cows; gaṇeṣu — herds; vedāvasāna
— of vadas; samayeṣu — conclusions; ca — and; dṛśyate — looks; tadveṇu — that venu; nādanaparaṁ
—sound above everything; śikhipiñchacūḍaṁ — peacock feather as crest jewel; brahma — Lord
Brahma; smarāmi —chants; kamalekṣaṇ — lotus like eyes; amabhranīlam — newly formed blue cloud

Beneath the trees of Vrindavan, he tends to the herds of cows, the very conclusion of Vedic
knowledge manifest. The flute he plays emits the supreme sound, a divine melody blessing
all the universes. Adorned with a peacock feather as his crest jewel, even Lord brahma
chants his name, recalling the lotus-like eyes and the complexion of a freshly formed blue
cloud.

Brahma sing stuti called Brahma Samhita where he open’s his heart.

2.22
Vyatyastapāda mavataṁsita-barhibarhaṁ

sācīkṛtānana-niveśitaveṇu-randhram

tejaḥ paraṁ paramakāruṇikaṁ purastāt

 prāṇaprayāṇ asamaye mama sannidhattām

vyatyasta — cross-legged; pāda — lotus feet; mavataṁsita — crown; barhibarhaṁ — peacock feather;
sācīkṛtānana — bent slightly and angle according to flute align his mouth; niveśitaveṇu — placed flute;
randhram — holes; tejaḥ — very fast; paraṁ — supreme harmony; paramakāruṇikaṁ — extremely
compassionate; purastāt — filing air in flute; prāṇaprayāṇ — life air living; asamaye — time; mama —
my; sannidhattām — he will be come to me

In the final breath, as the life force prepares to depart this body, adorned with lotus feet
gracefully crossed, crowned with peacock feathers, the divine being gently tilts their face,
placing the chin upon the left shoulder. With an aura of sublime compassion, the flute is
tenderly raised to divine lips, and with glorious mastery, the celestial holes breathe forth
an air that resonates with profound and ineffable harmony

2.23
ghoṣapraghoṣaśamanāya mathoguṇena

madhye babandha jananī navanītacoram

tadbandhanaṁ trijagatām-udarāśrayāńā-

mākrośakāraṇa maho nitarāṁ babhūva

ghoṣa — gopis; praghoṣa — anger; śamanāya — pacifying; mathoguṇena — rope made by jute; madhye
— waist; babandha — bound; jananī — mother; navanītacoram — butter thief; tadbandhanaṁ — that
binding; trijagatām — three worlds; udarāśrayāńā — take refuge of your womb; mākrośakāraṇa —
causing crying; maho — lord; nitarāṁ —wholly; babhūva — happened;

Mother, to pacify the constant complaints from the gopis about the butter thief by krishna, bound him
with a rope to a mortar. When she angrily tied the rope around the belly of Damodara, the entire
universe, seeking refuge in the womb, experienced continuous suffocation.

2.24
śaivā vayaṁ na khalu tatra vicāraṇīyaṁ

pañcākṣarījapaparā nitarāṁ tathāpi

ceto madīya-matasīkusumāvabhāsaṁ

smerānanaṁ smarati gopavadhūkiśoram

śaivā — devotes of lord shiva; vayaṁ — we; na — not; khalu — indeed; tatra — there; vicāraṇīyaṁ — to
be deliberated about; pañcākṣarījapaparā — five- syllable mantra of lord shiva; nitarāṁ — always;
tathāpi — even then; ceto — heart; madīya — mine; matasīkusumā — Atasi flower; avabhāsaṁ — light;
smerānanaṁ — smiling face; smarati — remembers; gopavadhūkiśoram — the lover of the milkmaids

Bilvamangala was devotee of Lord shiva initiated into the pañcākṣarī mantra, despite his dedication to
Lord shiva, whenever he recites the five- syllable mantra, a radiant and delicately smiling face,
reminiscent of lover of milkmaids, appears in his heart, resembling the illuminating glow of the ātasi
flower.

2.25
rādhā punātu jaga dacyuta datta cittā

manthāna-mākalayatī dadh-irikta-pātre
 tasyāḥ stanastabaka-cañcala-loladṛṣṭi-

rdevo ‘pi dohanadhiyā vṛṣabhaṁ nirundhan

rādhā — Radha rani; punātu — pure; jaga — world; dacyuta — who never falls; datta — giver; cittā —
mind; manthāna — churning; mākalayatī — mixing; dadh-irikta-pātre — empty curd pot; tasyāḥ — her;
stanastabaka — flower like breast; cañcala — restless; loladṛṣṭi — desire filled in eyes; devo ‘pi — even
God; dohanadhiyā — milking; vṛṣabhaṁ — ox; nirundhan — hindering;

Radha rani, lost in thought of Acyuta, she is engaged in churning an empty pot of curd for
butter. While krishna fills his eyes with her divine presence. He way tying ox for milking.

2.26
godhūli-dhūsarita-komalaku ntalāgraṁ

govardhano-ddharaṇa-kelikṛta-prayāsam

gopījanasya kuca-kuńkuma-mudritāńgaṁ

govindam-induvadanaṁ śaraṇaṁ bhajāmah

godhūli — dust raised by cow hoof; dhūsarita — covered; komalaku — soft hairs; ntalāgraṁ —
covered tips; govardhano — Govardhan hill; addharaṇa — lifting; kelikṛta — played; prayāsam —
effort; gopījanasya — of the gopis; kuca — bosom; kuńkuma — saffron; mudritāńgaṁ — marked body;
govindam— Govinda; induvadanaṁ — moon like faced; śaraṇaṁ — refuge; bhajāmah — we worship

We adore Govinda, whose hair tips are adorned with the dust stirred by hoofs of cows. He
playfully lifted Govardhan hill, as if engaged in a divine game. Embracing the gopis, he
anoints their bodies with saffron powder. His face, resembling the moon, is our ultimate
refuge. I surrender myself to him

2.27
Yadromarandhra-paripūrti vidhā vadakṣā

vārāhajanmani babhūvuramī samudrāḥ

taṁ nāma nātha maravindadṛśaṁ yaśodā

pāṇidvayāntara jalaiḥ snapayāṁ babhūva

Yadroma — which hairs; randhra — gaps between; paripūrti — filled; vidhā — duty; vadakṣā —failed;
vārāhajanmani — in the incarnation as Varaha; babhūvuramī — became these; samudrāḥ — oceans;
taṁ — him; nāma — named; nātha — Lord; maravindadṛśaṁ — like lotus eyes; yaśodā — mother
Yashoda; pāṇidvayāntara — between two hands; jalaiḥ — with water; snapayāṁ — bathed; babhūva —
became

In the incarnation of Varaha, the gaps between whose hairs were not filled by the entire
oceans of the Earth, that Lord become, with lotus-like eyes and hand filled with water,
bathed while resting on the lap of mother Yashoda

2.28
Vara mima mupadeśa mādriyadhvaṁ
 nigamavaneṣu nitā ntacāra-khinnaḥ

vicinuta bhavaneṣu vallavīnā-

mupaniṣada-rtham-ulūkhale nibaddham

Vara — boon; mima — this; mupadeśa — instruction; mādriyadhvaṁ — fallows; nigama — vadas;
vaneṣu — in forests; nitā — extremely; ntacāra — walk; khinnaḥ — exhosted; vicinuta — search;
bhavaneṣu — in the house; vallavīnā — of the gopis; mupaniṣada — upanisad; rtham — meaning;
ulūkhale — in the mortar; nibaddham — bound;

In the forest many yogis diligently walk in pursuit of vedic knowledge, unaware that this
boon is intricately bound to a mortar in the home by a gopi.

2.29
devakītanaya-pūjanapūtaḥ

pūtanāri-caraṇ odakadhautaḥ

yadyahaṁ smṛta-dhanañjayasūtaḥ

kiṁ kariṣyati sa me yamadūtaḥ

devakītanaya — son of Devaki; pūjanapūtaḥ — purified by worship; pūtanāri — killer of putana; caraṇ
— lotus feet; odaka — water; dhautaḥ — cleansed; yadyahaṁ — if I; smṛta — remember;
dhanañjayasūtaḥ — arjuna’s chariot driver; kiṁ — what; kariṣyati — will do to you; sa — that;
yamadūtaḥ — messengers of Yama

If I worship son of Devaki, cleanse the lotus feet of pūtanāri, and remember Arjuna’s chariot driver, what
will that messengers of Yamaraja do to me?

2.30
bhāsatāṁ bhavabhayaikabheṣajaṁ

mānase mama muhurmuhurmuhuḥ

gopaveṣa-mupaseduṣas svayaṁ

yāpi kāpi ramaṇīyatā vibhoh

bhāsatāṁ — glowing; bhavabhayaikabheṣajaṁ — remedy for the fear of maya; mānase — O mind;
mama — mine; muhurmuhurmuhuḥ — again and again and again; gopaveṣa — in the artier of
cowherd; mupaseduṣas— approaching; svayaṁ — oneself; yāpi kāpi — in whatever way; ramaṇīyatā —
attractiveness; vibhoh — of the Lord

He is the only sole remedy for Maya, O mind Again and again and again, in whatever way,
indulge in the Lord who adorns the guise of a cowherd boy

2.31
karṇa-lambita-kadamba-mañjarī -

kesarāruṇa-kapola-maṇḍalam

nirmalaṁ nigama-vāgagocaraṁ
 nīlamāna-mavalokayāmahe

karṇa — ears; lambita — hanging; kadamba — Kadamba flowers; mañjarī — cluster; kesarāruṇa —
saffron color; kapola — cheek; maṇḍalam — adorned; nirmalaṁ — spotless; nigama — vadas;
vāgagocaraṁ — speaks contexts; nīlamāna — blue gem; mavalokayāmahe — we see

we see clusters of Kadamba flowers hanging on his ears, playing on his saffron coloured
cheeks when he turns a side, he speaks pleasant concepts of Vadas, and he looks like a blue
gem.

2.32
sāci sañcalitalocanotpalaṁ

sāmikuṭmalitakomalādharam

vegavalgitakarāńgulī mukhaṁ

veṇunādarasikaṁ bhajāmahe

sāci — beautiful; sañcalita — moving; locano — eyes; tpalaṁ — lotus; sāmi — near; kuṭmalita —
situated; komalādharam — soft lips; vega — rapidly; valgita — moving to and fro; karāńgul — fingers;
mukhaṁ — face; veṇunda — flute vibration; rasikaṁ — full in the knowledge of mellows; bhajāmahe
— I worship

He is moving eyes very elegantly, near them, on tender lips, place a flute, full in mellows,
vibrating his flute by moving fingers to and fro rapidly. I pray to him.

2.33
syandane garuḍamaṇḍitadhvaje

kuṇḍineśatanayādhiropitā

kenacinnavatamālapallava-

śyāmalena puruṣeṇa nīyate

syandane — war-chariot; garuḍa — garuda; maṇḍita — decorated; dhvaje — flag; kuṇḍineśa — king of
city kundi; śatanayā — daughter; ādhiropitā — raised; ādhiro — climbed; pitā — sited; kenaci — looks;
navatamaāla — tender tamala leaf; śyāmalena — black coloured; puruṣeṇa — person; nīyate — is
carried

A Person of dark complexion, resembling tender tamala leaves, came like lion and took
hand of Rukmini devi daughter of Bishmaka, make him sited in his war-chariot with flag of
garuda on his top.

2.34
māyāta pānthāḥ pathi bhīmarathyā

digambaraḥ ko ‘pi tamālanīlaḥ

vinyastahasto ‘pi nitambabimbe

dhūrtassamākarṣati cittavittam

māyāta — intelligent; pānthāḥ — passerby; pathi — path; bhīmarathyā — very Fastly on chariots;
digambaraḥ — nude; ko ‘pi — one; tamālanīlaḥ — blue complexion like tamala leaves; vinyast — put;
 ahasto — hands; pi — wicked man; nitambabimbe — bimba like round hips; dhūrtas — cunning;
samākarṣati — attracts; cittavittam — mind;

One day mother Yashoda took baby krishna to bath in Yamuna River, there krishna was nude ready to
bath playing with his mother, few gopis saw it and in enchantment they say while returning homes they
are says

O intelligent travelers, please avoid this path, a boy in bluish black complexion standing nude with
hands backside his charm captivating and bright. He will steal your mind bewitch you.

2.35
ańganāmańganāmantare mādhavo

mādhavaṁ mādhava cāntareṇāńganā

ithamākalpite maṇḍale madhyagaḥ

sañjagau veṇunā devakīnandanaḥ

ańganā — for each Gopi; ańganā — every part; āmantare — between; mādhavo — Kṛṣṇa; mādhavaṁ
mantra — Sri Kṛṣṇa mantra; cāntareṇāńganā — within the circle of gopis; itham —this way; ākalpite —
manifested; maṇḍale — circle; madhyagaḥ — centre; sañjagau — played; veṇunā — flute;
devakīnandanaḥ — son of Devaki;

Between each gopi, mādhava. Between mādhava and mādhava, a gopi all in a circle. At centre of the
circle, in a tribhanga bent form, the son of Devaki is playing the flute very well.

Śrīla Viśvanātha Cakravartī Ṭhākura points out that the gopīs, maddened by love, were
unable to understand that Śrī Kṛṣṇa had expanded Himself so He could personally dance
with each of theṁ Each gopī saw one manifestation of Kṛṣṇa. The demigods and their
wives, however, could see all His different manifestations as they watched the dance from
their airplanes, and thus they were completely astonished.

2.36
kekikekādṛtānekapańkeruhā -

līnahaṁsāvalīhṛdyatā hṛdyatā

kaṁsavaṁśāṭavīdāhadāvānalaḥ

sañjagau veṇunā devakīnandanaḥ

kekikekā — peacock singing; ādṛtā — contained; āneka — lots of; pańkeruhā — from lotuses; ālīna —
came to close; haṁsā — swans; hṛdyatā — happiness; hṛdyatā — happiness; kaṁsavaṁśā — lineage of
Kamsa; āṭavī — forest; dāha — burning; dāvānalaḥ — forest fire; sañjagau — plays well; veṇunā —
flute; devakīnandanaḥ — son of Devaki;

Up on seeing Kṛṣṇa’s blue complexion, all peacock’s approach and encircle him, dancing
and singing. Thet melodic tunes of the peacock’s make the swans think that it’s raining,
and they come out and witness the dark Lord, feeling immense happiness. He is the forest
fire in the lineage of kamsa, that Kṛṣṇa plays flute very well

2.37
 kvāpi vīṇābhirārāviṇā kampitaḥ

kvāpi vīṇābhirākińkiṇī nartitaḥ

kvāpi vīṇābhirāmantaraṁ gāpitaḥ

sañjagau veṇunā devakīnandanah

kvāpi — one place; vīṇābhirārāviṇā — vina tunes; kampitaḥ — vibrating; kvāpi — one pace; vīṇābhirā —
according to vina tune; kińkiṇī — tinkling anklet bell; nartitaḥ — dancing; kvāpi — one pace; vīṇābhirā
— according to vina tune; āmantaraṁ —soddenly; gāpitaḥ — singing; sañjagau — plays well; veṇunā
— flute; devakīnandanaḥ — son of Devaki

At one place he resonated delicate tunes from his vina, aligning with that celestial raga.
One place he danced to the rhythmic jingle of his anklet bells, synchronized with the ragas.
In another place he composed verses harmonizing with melodic flow of the vina ragas.
That son of Devaki plays flute very well

2.38
Cārucandrāvalīlocanaiścumbito

gopagobṛndagopālikāvallabhaḥ

vallavībṛndabṛndārakaḥ kāmukaḥ

sañjagau veṇunā devakīnandanah

Cāru — pretty; candrā — sliver; āvalī — gopis; locanai — eyes; ścumbito — kissed; gopa — cowherd
boys; gobṛnda —cow herds; gopālikā — cowherd girls; āvallabhaḥ — beloved; vallavībṛnda — groups of
gopis; bṛndārakaḥ — God to them; kāmukaḥ — there desire; sañjagau — plays well; veṇunā — flute;
devakīnandanaḥ — son of Devaki

In the gaze of all gopis, he is kissed by their eyes; cherished by the cowherd boys, adored by
the cowherds and cowherd girls. A divine boon to all the gopis, he is the embodiment of
love and devotion in the heart of Vrindavan. That son of Devaki plays flute very well.

2.39
maulimālāmilanmattabhṛńgīlatā

bhītabhītapriyāvibhramālińgitaḥ

srastagopīkucābhogasammelitaḥ

sañjagau veṇunā devakīnandanaḥ

mauli — crown; mālā — garland; milanmatta — meet intoxicated; bhṛńgīlatā — bee; bhīta — fearful;
bhīta — fearful; priyā — beloved; vibhramā — joy fully; ālińgitaḥ — hugged; srasta — slipped off; gopī
— gopi; kucābhoga — upper garments slip; sammelitaḥ — adorned; sañjagau — plays well; veṇunā —
flute; devakīnandanaḥ — son of Devaki

When Kṛṣṇa, adorned in a crown and a flower garland, both beautifully decorated with
flowers, bumblebees buzzing around him. As gopis approach Kṛṣṇa for an embrace, the
bees swiftly move away, due to that gopis upper cloth slips, that son of Devaki plays flute
very well.

2.40
 cāru-cāmīka-rābhāsa—bhāmā-vibhu

rvaijayantīlatāvāsitoraḥ Sthalah

nandabṛndāvane vāsitāmadhyagaḥ

sañjagau veṇunā devakīnandanaḥ

cāru — beautiful; cāmīka — gold; rābhāsa — shining; bhāmā — Rukmini devi; vibhu — Lord;
rvaijayantī — the vaijayantī garland; vāsit — stay; oraḥ — chest; Sthalah — place; nanda — nanda rajas;
bṛndāvane — Vrindavan; vāsitā — Gopis; madhyagaḥ — in between; sañjagau — plays well; veṇunā —
flute; devakīnandanaḥ — son of Devaki.

The Lord of beautiful gold-shining complexion, Rukmini Devi, is adorned with the
Vaijayanti mala made from flowers of the forest. He resides in nanda Maharaja’s
Vrindavan, surrounded by Gopis.That son of Devaki plays flute very well.

2.41
bālikātālikātālalīlālayā-

sańga-sandarśita-bhrūlatā-vibhramaḥ

gopikāgīta-dattā-vadhāna ssvayaṁ

sañjagau veṇunā devakīnandanaḥ

bālikā — Gopis; tālikā — beats played by clapping; tālalīlālayā — the rhythm delighting; sańga —
association; sandarśita — touched; bhrūlatā — brow creeper; vibhramaḥ — restlessness; gopikāgīta —
gopikāgīta (10.31.1-19); dattā — give; vadhāna — face; ssvayaṁ — himself; sañjagau — plays well;
veṇunā — flute; devakīnandanaḥ — son of Devaki.

In the delightful rhythm and association created by the Gopis’ clapping and dancing, Krishna’s brow,
adorned with the charm of creepers, becomes restless. As the Gopis sing their songs, expressing the
depths of their devotion and longing, Krishna, moved by their love, surrenders himself to them. that
son of Devaki plays flute very well.

2.42
pārijātaṁ samuddhṛtya rādhāvaro

ropayāmāsa bhāmāgṛha syāńgaṇe

śītaśīte vaṭe yāmunīye taṭe

sañjagau veṇunā devakīnandanaḥ

pārijātaṁ — pārijātaṁ flowers; samuddhṛtya — having uplifted; rādhāvaro — Radha’s lover;

ropayāmāsa — rise up; bhāmāgṛha — Satyabhama’s house; syāńgaṇe — courtyard; śītaśīte — in the
cold; vaṭe — under a banyan tree; yāmunīye — on the bank of the Yamuna River; taṭe — on the shore;
sañjagau — plays well; veṇunā — flute; devakīnandanaḥ — son of Devaki.

The darling of Radha, from heavenly realms of Indra, brought the Parijat plant, on which he
bestowed tender care, and planted it playfully in the courtyard of Satyabhama. Under the
cool caress of a banyan tree, on the Yamuna river’s shore, Krishna nurture. that son of
Devaki plays flute very well.
 2.43

agre dīrghataro yamarjunataru stasyāgrato vartmanī

sā ghoṣaṁ samupaiti tatparisare deśe kalindātmajā

tasyāstīra-tamālakānanatale cakraṁ gavāṁ cārayan

gopaḥ krīḍati darśayiṣyati sakhe panthānamavyāhṛtam

agre — at first; dīrghataro — long trees; yamarjunataru — Yāmala-arjuna Trees; stasyāgrato — stay in
front; vartmanī — the path; sā — that; ghoṣaṁ — cowherd; samupaiti — approaches; tatparisare —
that surrounding; deśe — place; kalindātmajā — Yamuna River; tasyāstīra — that river bank;
tamālakānana — tamala forest; tale — shore; cakraṁ — herd’s; gavāṁ — cows; cārayan — graziing;
gopaḥ — cowheard; krīḍati — playing; darśayiṣyati — can show; sakhe — friend; panthānama — way;
vyāhṛtam — utterance;

O friend on the way, initially, there stood two tall Arjuna trees. As the path advances, it leads toward the
cowherd village. In the surroundings, the Yamuna River flows, and on its banks, amidst the Tamala tree
forest, herds of cows graze peacefully. In that serene setting, a cowherd boy plays joyfully and, in his
wisdom, can guide you on the path of liberation.

2.44
godhūlidhūsarita komalagopaveṣaṁ

gopālabālakaśatai ranugamyamānam

sāyantane pratigṛhaṁ paśubandhanārthaṁ

gacchantam-acyutaśiśuṁ praṇato‘smi nityam

godhūli — dust raised from cow hoofs; dhūsarita — made gray; komala — tender; gopaveṣaṁ —
dressed like cowherd boy; gopālabālakaśatai — shining between cowherd boys; ranugamyamānam —
fallowed by them; sāyantane — evening time; pratigṛhaṁ — every house; paśu-bandhanārthaṁ — for
the purpose of tying the cattle’s; gacchantam — going; acyutaśiśuṁ — un fallen one; praṇato ‘smi — I
bow down; nityam — always

With a body covered in the dust raised by similarly coated, he emerged from the forest, shining amidst
the cowherd boys, everyone following him. In the evening, Acyuta himself goes to each home, binding
help to secure the tying of all the cows.

2.45
nidhiṁ lavaṇyānāṁ Nikhila

jagadāścaryanilayaṁ

nijāvāsaṁ bhāsāṁ niravadhika-

niśśreyasarasam

sudhādhārāsāraṁ sukṛta-

paripākaṁ mṛgadṛśāṁ
 prapadye māńgalyaṁ Prathama-

madhidaivaṁ kṛtadhiyām

nidhiṁ — treasure; lavaṇyānāṁ — of all beauties; Nikhila — all; jagad — of the world; āścarya —
wonderful; nilayaṁ — abode; nijāvāsaṁ — real residence; bhāsāṁ — shining; niravadhika — without
excess; niśśreyasarasam — essence of joy; sudhādhārāsāraṁ — nectar pot; sukṛta — good deed’s;
paripākaṁ — result; mṛgadṛśāṁ — of those who seek; prapadye — I surrender; māńgalyaṁ —
auspiciousness; Prathama — first; madhidaivaṁ — my god; kṛtadhiyām — pious ones

Oh God, you are the treasure of all beauties, the wonderful abode of the entire world. You are the real
residence in your shining glory, the essence of joy, a nectar pot, and the source of all good deeds

2.46
atāmrapāṇikamalapraṇayapratoda -

mālolahāra-maṇikuṇḍala-hemasūtram

āviśśramāmbukaṇa mambudanīla mavyā -

dādyaṁ dhanañjaya-rathābharaṇaṁ maho naḥ

atāmra — slightly copper-coloured; pāṇikamala — lotus hands;

praṇaya — alluring; pratoda — long whip; mālola — swinging; hāra — necklace; maṇikuṇḍala —
precious stone earrings; hemasūtram — golden sacred thread; āviś — apparently; sramāmbu — sweet;
kaṇama — droplets; mambuda — clouds like; nīla — blue; mavyā — without being interrupted;
dādyaṁ — protect; dhanañjaya — arjuna’s; rathābharaṇaṁ — chariot’s ornament; maho — Lord; naḥ
— us;

Arjuna’s chariot, adorned with jewels called parthasarathi, witnesses his lotus-like hands adorned with
the light copper hue, a result of the dust raised by the movements of soldiers and horses. In his hands, a
long whip gracefully controls the spirited horses of his chariot. Swinging with sudden movements, his
necklace gleams, accompanied by radiant earrings and a golden sacred thread. Upon his forehead,
droplets of sweat resemble sweet blue clouds. Surely, he will be our protector.

Same context comes in Bhagavata purana (SB 1.9.34)

yudhi turaga-rajo-vidhūmra-viṣvak-
kaca-lulita-śramavāry-alaṅkṛtāsye
mama niśita-śarair vibhidyamāna-
tvaci vilasat-kavace ’stu kṛṣṇa ātmā

On the battlefield [where Śrī Kṛṣṇa attended Arjuna out of friendship], the flowing hair of
Lord Kṛṣṇa turned ashen due to the dust raised by the hoofs of the horses. And because of His
labor, beads of sweat wetted His face. All these decorations, intensified by the wounds dealt by
my sharp arrows, were enjoyed by Him. Let my mind thus go unto Śrī Kṛṣṇa.

2.47
nakhaniyamitakaṇḍū npāṇḍavasyandanāśvā-

nanudina mabhiṣiñca nnañjalisthaiḥ Payobhih

 avatu vitatagātra stotraniṣṭyūtamauli-

rdaśanavidhṛtaraśmi rdevakīpuṇyarāśih

nakha — nails; niyamita — suppressed; kaṇḍū — itching; pāṇḍava — arjuna’s; syandanā — war-
chariot; āśvā — horses; ānanudina — every day; mabhiṣiñca — bathe; nnañjalisthaiḥ — with hands;
Payobhih — watering; avatu — protect; vitatagātra — who have all-pervading body; Stotra —prayer;
niṣṭy — the best; ūtamauli — adorned with a crown; rdaśana — with teeth; vidhṛta — holding; raśmi —
whip’s; rdevakīpuṇyarāśih — Devaki good deeds result

With teeth holding whips, suppressing nails from scratching, and pouring water with
hands every day to Arjuna’s horses. Whose praise by great sages serves as a crown, he, the
result of Devaki’s good deeds, may protect us.

2.48
vrajayuvati-sahāye yauvanollāsikāye

sakalaśubhavilāse kundamandārahāse

nivasatu mama cittaṁ tatpadāyattavṛttaṁ

munisarasijabhānau nandagopālasūnau

vrajayuvati — vraja young girls; sahāye — with a companion; yauvan — young; ollāsi — shining; kāye
— body; sakala — all; subha — auspicious; vilāse — charm; kunda — jasmine flower; mandāra —
large; hāse — smile; nivasatu — abode; mama — my; cittaṁ — heart; tat — that; padā — feet; āyatta —
resting on; vṛttaṁ — behavior; muni — sages; sarasija — lotus; bhānau — sun;

nandagopāla — nandagopāla; sūnau — son;

Companion of young Vraja Gopis, with a youthfully shining body. All auspicious charm, a
smile as large and white as a jasmine flower, the sun of lotus-like sages. On the lotus feet of
the son of Nanda Maharaj, my mind always rests.

2.49
araṇyānī mārdrasmita-madhurabimbā-dharasudhā

saraṇyā saṁkrāntaissapadi madayan veṇuninadaiḥ

dharaṇyā sānandotpulaka mupagūḍhāńghrikamalaḥ

śaraṇyānā mādya ssa jayatu śarīrī madhurimā

araṇyānī — in forest; mārdra — sweet; smita — smile; madhurabimbā — sweet red bimba fruit like;
ādharasudhā — necrotic lips; saraṇyā —flows in air; saṁkrāntai — by glance; sapadi — quickly;
madayan — intoxicating; veṇuninadaiḥ — vibrate his flute; dharaṇyā — on earth; sānandotpulaka —
joy and thrill; mupagūḍhā — embraced; āńghri — foot; kamalaḥ — lotus; saraṇyānā — surrender;
mādya— starting; ssa— he; jayatu — won’s; sarīrī — body; madhurimā — attraction;

In the forest, with his sweet smile, on red bimba fruit-like lips, flows nectar through the flute, entranced
and intoxicating. Mother earth, thrilled by embracing his lotus footprints, as he walks through the forest,
surrendering to him, we win the attraction of the material body’s senses.

2.50
vidagdha-gopālavilāsinīnāṁ
 sambhogacihnāńkita-sarvagātram

pavitram āmnāyagirāmagamyaṁ

brahma prapadye navanītacoram

vidagdha — skilful; gopālavilāsinīnāṁ — cowherd girl’s; sambhogacihnā — love signs; sarvagātram —

whole body; pavitram — pure; āmnāyagirāma — Vedic hymns; amyaṁ — possessed; brahma — the
supreme reality; navanītacoram — butter thief;

In the midst of charming girls, enveloped skilfully by the melodies of love, my entire being
resonates with purity akin to Vedic mantras. Oh, Supreme Reality, the butter thief, I
humbly bow down to you.

2.51
antargṛhe kṛṣṇa mavekṣya coraṁ

baddhvā kavāṭaṁ jananīṁ gataikā

ulūkhale dāmanibaddha menaṁ

tatrāpi dṛṣṭvā stimitā babhūva

antargṛhe — inside house; kṛṣṇa — lord kṛṣṇa; mavekṣya— to be attended to; coraṁ — steal; baddhvā
— having bound; kavāṭaṁ — doors; jananīṁ — mother (one motherly gopi); gataikā — gone; ulūkhale
— mortar; dāmanibaddha — tied by rope; menaṁ — in heart; tatrāpi —that too; dṛṣṭvā — seeing;
stimitā — stunned; babhūva — become;

One motherly gopi saw kṛṣṇa stealing and eating butter. Silently, she locked the door of that room and
went to Mother Yashoda’s home to inform her. In courtyard of Yashoda, gopi see’s kṛṣṇa bounded to the
mortar, gopi was stunned in her heart.

2.52
ratnasthale jānucaraḥ kumāraḥ

sańkrānta mātmīya mukhāravindam

ādātukāma stadalābhakhedā

dvilokya dhātrīvadanaṁ ruroda

ratnasthale — place decorated by gems; jānucaraḥ — balancing on the knees; kumāraḥ — boy;
sańkrānta — reflected; mātmīya — intimate; mukhāravindam — lotus face; ādātukāma — desire to
know; stad — pillar/platform; alābha — touching; kheda — in sadness; dvilokya — seeing all this;
dhātrīvadanaṁ — face smeared with curd; ruroda — start crying;

Balancing on his knees, saw a lotus-like face reflected on the gems on the pillar. He tried to catch it, but
his attempts proved futile. With a face smeared with butter, he began to cry.

2.53
anandena yaśodayā

samadanaṁ gopāńganābhiściraṁ

sāśańkaṁ balavidviṣā
 sakusumaiḥ siddhaiḥ pṛthivyākulam

serṣyaṁ gopakumārakai

ssakaruṇaṁ paurairjanaiḥ sasmitaṁ

yo dṛṣṭaḥ sa punātu no

muraripuḥ protkṣipta govardhanah

anandena — happiness; yaśodayā — mother sodayā; samadanaṁ — cupid; gopāńganābhi — cowherd

girls; ābhiściraṁ — towards long-lasting; sāśańkaṁ — with doubt; balavidviṣā — indra; sakusumaiḥ —
with flowers; siddhaiḥ — yogis; pṛthivyā — mother earth; ākulam — stunned; serṣyaṁ — envied;
gopakumārakai — by cow herd boys; ssakaruṇaṁ — with compassion; paurairjanaiḥ — Vraja Vasi’s;
sasmitaṁ — with smile; yo — who; dṛṣṭaḥ — seen; punātu — purified; sa — all; muraripuḥ— Lord
murari; protkṣipta — with ease lifted; govardhanah — giri raja Govardhan;

With joyous Mother Yashoda, glances resembling Cupid’s arrows from the cowherd girls, with scepticism
from Indra, with a shower of flowers from yogis, with astonishment from Mother Earth, with jests from
the cowherd boys, and with compassion and smiles from the residents of Vraja, whoever witnesses
Murari lifting Govardhan Hill will be purified.

In the bilvamangala say’s, the cowherd boy’s express jests towards Krishna. Sri Bilvamaṅgala describes it
as sāttvik envy, reflecting the mood of devotion among the cowherd boys, known as sākā. Hence, their
apparent envy is in the sāttvik mode.

The great sage Śrī Nāradajī said to Yudhisthira (SB 7.1.31)

gopyaḥ kāmād bhayāt kaṁso
dveṣāc caidyādayo nṛpāḥ
sambandhād vṛṣṇayaḥ snehād
yūyaṁ bhaktyā vayaṁ vibho

My dear King Yudhiṣṭhira, the gopīs by their lusty desires, Kaṁsa by his fear, Śiśupāla and other kings by
envy, the Yadus by their familial relationship with Kṛṣṇa, you Pāṇḍavas by your great affection for Kṛṣṇa,
and we, the general devotees, by our devotional service, have obtained the mercy of Kṛṣṇa.

2.54
Upāsatā mātmavidaḥ purāṇāḥ

paraṁ pumāṁsaṁ nihitaṁ guhāyām

vayaṁ yaśodā´
-siśu-bālalīlā-

kathāsudhāsindhuṣu līlayāmaḥ

Upāsatā — worship; mātmavidaḥ — knower of self; purāṇāḥ — ansisters; paraṁ — Supreme;

pumāṁsaṁ — the man; nihitaṁ — placed; guhāyām — in heart; vayaṁ — we; yaśodā — mother
yaśodā; śiśu — baby; bālalīlā — boy; katha — story; sudhāsindhuṣu — ocean of nectar; līlayāmaḥ —
heart in his pastime;

We, worshippers of the Supreme Personality of Godhead and knowers of the self, offer our
praises. Our hearts immerse themselves in the playful pastimes of Mother Yasoda’s baby
boy.

2.55
vikretukāmā kila gopakanyā
 murari-pādārpita-cittavṛttiḥ

dadhyādikaṁ moha-vaśāda-vocad

govinda dāmodara mādhaveti

vikretukāmā — want to sell; kila— indeed; gopakanyā — young gopi; murari — killer of demon mura;
pādārpita — surrender to lotus feet; cittavṛttiḥ — state of mind; dadhyādikaṁ — curd etc; moha — with
affection; vaśāda — dejection; vocad — spoke; govinda dāmodara mādhaveti — Lord names;

A young gopi, with curd and butter to sell, took to the streets, yet her thoughts lingered
upon the lotus feet of Murari. Instead of calling out for curd and butter, she softly sang,
‘Govinda, Damodara, Madhava.

Bilvamangala as written 71 verses called Govinda-Damodara-stotram

2.56
ulūkhalaṁ vā yamināṁ mano vā

gopāńganānāṁ kucakuṭmalaṁ vā

murārināmnaḥ kalabhasya nūna-

mālānamāsīt trayameva bhūmau

ulūkhalaṁ vā — a mortar; yamināṁ — muni’s; mano vā — a hearty; gopāńganānāṁ — cow herd

women; kucakuṭmalaṁ vā — flower bud’s breasts; murārināmnaḥ — name of murari; kalabhasya —
baby elephant; nūna — surely; mālānamāsīt — bandied; trayameva — this three; bhūmau — ground;

Yashoda’s mortar, hearts of munis, and Gopis’s flower like breasts, are the three earthly
realms where Krishna’s named elephant bound to ground.

2.57
karāravindena padāravindaṁ

mukhāravinde viniveśayantam

vaṭasya patrasya puṭe śayānaṁ

bālaṁ mukundaṁ manasā smarāmi

karāravindena — in lotus hands; padāravindaṁ — lotus feet; mukhāravinde — lotus face;

viniveśayantam — place; vaṭasya — on banyan tree; patrasya — on the leaf; puṭe — the boat; sayānaṁ
— lying down; bālaṁ — young boy; mukundaṁ — Lord mukundaṁ; manasā — O heart; smarāmi —
remember;

O mind, always remember the young boy Mukunda, who holds his lotus feet with lotus-like hands, places
the feet’s thumb on his lotus face, and sleeps in a boat made of a banyan tree leaf, sucking it.

2.58
sambho svāgatam āsyatā mita

ito vāmena padmāsana

krauñcāre kuśalaṁ sukhaṁ surapate

vitteśa no dṛśyase

itthaṁ svapnagatasya kaiṭabha-

 jita´sśrutvā yaśodā giraḥ

kiṁ kiṁ bālaka jalpasīti racitaṁ

dhūdhūkṛ taṁ pātu naḥ

sambho — Lord shiva; svāgatam — welcome; āsyatā — being seated; mita— here; ito
vāmena — here left side; padmāsana — who set in lotus (Lord brahma); krauñcāre —
killer of demon krauñca (Subrahmanya); kuśalaṁ — are you well ?; sukhaṁ —feeling
well; surapate — king of demigods (lord indra); vitteśa — vitteśa city king (Kibera); no —
not; dṛśyase — seen for long; itthaṁ — thus; svapnagatasya — had dream; kaiṭabhajita
— the killer of the demon Kaiṭabha; sśrutvā — after hearing; yaśodā — mother yasoda;
giraḥ — words; kiṁ kiṁ — what what?; bālaka — boy; jalpasīti — talking in sleep;
racitaṁ — composed; dhūdhūkṛ — Indian village women normally says dhudhur; taṁ
— that; pātu — protect; naḥ — us;

O Sambho, be welcomed and seated. Brahma, come and take your place on the left.
How fares the heron-like Kartikeya? Indra, all well with you? Long time unseen, Kubera,
hearing this, Yashoda thinks, ‘O my Krishna, speaking in his sleep.’ A mere child can’t
discourse about demigods this way. With intense motherhood, she forms the
‘dhudhudhu’ mantra, a chant that shall protect us.

2.59
mātaḥ kiṁ yadunātha dehi caṣakaṁ kiṁ tena pātuṁ paya-

stannāstyadya kadāstivā niśi niśā kā vāndhakārodaye

āmīlyākṣiyugaṁ niśāpyu-pagatā dehīti mātu rmuhu-

rvakṣojāṁ-śukakarṣaṇo-dyatakaraḥ kṛṣṇassa puṣṇātu nah

mātaḥ — O mother; kiṁ — what; yadunātha — Lord of yadu dynasty krishna; dehi — give me; caṣakaṁ —
bowl; kiṁ — why; tena — bowl; pātuṁ — to have; payastannā-styadya — nectar like payasa; kadāstivā—
not now; niśi — At night; niśi — At night; kā — what; vāndhakārodaye — when darkness come; āmīlyā —
closing; ākṣiyugaṁ — eyes; niśāpyu-pagatā — night come; dehīti — give me; mātu — mother; rmuhu —
again; rvakṣojāṁ — upper garment; sukakarṣaṇo — pulling; dyatakaraḥ — hand with urge; kṛṣṇassa —
Lord kṛṣṇa; puṣṇātu — protect; nah — us;

Kṛṣṇa: O mother.
Yeshoda: what kṛṣṇa?
Kṛṣṇa: Give me that bowl.
Yeshoda: Why, that bowl?
Kṛṣṇa: to eat nectar like payasam.
Yeshoda: Not now, I will give you it to you at night.
Kṛṣṇa: What does night mean, mother?
Yeshoda: When everything becomes dark.
(kṛṣṇa close his eyes)

Kṛṣṇa: Mother, is it already night? Give me bowl of payasam

 He started pulling Yeshoda’s upper garment of saree that kṛṣṇa will protect us

2.60
Kālindī-pulino-dareṣu musalī yāvadgataḥ khelituṁ

tāva tkārparikaṁ payaḥ piba hare vardhiṣyate te śikhā

itthaṁ bālatayā pratāraṇa-parāḥ śṛtvā yaśodāgiraḥ

pāyānna ssvaśikhāṁ spṛśan pramuditaḥ kṣīre-rdhapīte hariḥ

Kālindī — Yamuna River; pulino — sand bank; dareṣu — nearby; musalī — who use mace as weapon
(Balarāma); yāvadgataḥ — gone while; khelituṁ — playing; tāva — you; tkārparikaṁ — take bowl; payaḥ —
milk; piba — drink; hare — kṛṣṇa; vardhiṣyate — grow; te — your; sikhā — hairs; itthaṁ — thus; bālatayā —
kid (kṛṣṇa); pratāraṇa — cheated; parāḥ — good; sṛtvā — hearing; yaśodāgiraḥ — Yeshoda words; pāyānna
— drinking; ssvaśikhāṁ — his hair; spṛśan — touching; pramuditaḥ — delighted in heart; kṣīre — milk;
rdhapīte — half bowl drank; hariḥ kailāso Lord kṛṣṇa;

Balarama went to play on the sandbanks of the Yamuna. Before he came, drank a bowl of milk. Mother
Yeshoda told kṛṣṇa if you drank milk, your hair would grow long, even though kṛṣṇa knew everything, he
began to drink half the bowl and touched his hair to check if its hade grown. That kṛṣṇa will protect us.

2.61
kailāso navanītati kṣitiriyaṁ prā-gjagdha-mṛlloṣṭati

kṣīrodo’pi nipītadugdhati lasat smere praphulle mukhe

mātrā ’jīrṇadhiyā dṛḍhaṁ cakitayā naṣṭā smi dṛṣṭāḥ kayā

dhūdhū vatsaka jīva jīva ciramityukto ‘vatānno hariḥ

kailāso — kailāsa mountain; navanītati — moistened with butter; kṣitiriyaṁ — this earth; prā — already;
gjagdha — eaten; mṛlloṣṭati — sand; kṣīrodo’pi — milk ocean; nipīta — drunk up; dugdhati — milk cream;
lasat — appearing; smere — smiling; praphulle — blooming; mukhe — face; mātrā — mother; jīrṇadhiyā —
not digested; dṛḍhaṁ — massive; cakitayā — feared; naṣṭā — damaged; smi — smiling;

dṛṣṭāḥ — seen; kayā — body; dhūdhū — dhudhu mantra; vatsaka — child; jīva jīva — live live; ciramityukto
—live long; avatānno — protect; hariḥ — hare

while mother Yashoda looked inside little kṛṣṇa mouth, she saw kailasa mountain, aside from it, the
butter he had eaten and sand, the ocean of milk he had drank up. seeing blooming smile, Mothe become
afraid, thus think that his stomach might have indigestion. She then chanted dhudhu mantra for a long
and healthy life, believing that the mantra could protect us.

The Vraja saint Surdas also sang the same bhava in Vraja
Maiya kabahu badhegi choti?
kiti baar mohi doodh pivat bhayi yah ajahu hai chhoti
tu jo kahati bal ki beni jyu hwaihe lambi moti
kadhat guhat nhwawat aunchhati nagin si bhui loti
kacho doodh pivavat pachi Pachi det na maakhan roti
sur shyam chirjiv dau bhaiya hari-haldhar ki joti

2.62
 kiñci-tkuñcita-locanasya pibataḥ paryāyapītastanaṁ
sadyaḥ prasnutadugdhabindumaparaṁ hastena sammārjataḥ mātraikā-ńgulilālitasya cubuke smear-
nanasyā-dhare
śaureḥ kṣīṇakaṇānvitā nipatitā dantadyutiḥ pātu naḥ

kiñci — little; tkuñcita — extended/opened; locanasya — eyes; pibataḥ — drink’s; paryāy — fully; pīta —
drink; stanaṁ — breast; sadyaḥ — then; prasnuta — milk flows in mother love; dugdhabindum — milk
drops; aparaṁ — another; hastena — breast; sammārjataḥ — rubbing; mātraikā — mother (Yeshoda);
ańgulilālitasya — with finger; cubuke — chin; smear — smiling; nanasyā — of face; adhare — lips; saureḥ —
sri kṛṣṇa; kṣīṇakaṇānvitā — with small milk droplets; nipatitā — into; dantadyutiḥ — light coming from
teeth; pātu — protect; naḥ — us

kṛṣṇa opened his eyes a little and drank milk from mother Yashoda’s breast. From other breast milk
droplets come with exotic mother love. With fingers mother Yeshoda pull chin slightly inside small milk
droplets and now teeth’s as shining like moon, that shine will protect us;

2.63
uttuńga stanamaṇḍalopari-lasatprālambamuktāmaṇe

rantarbimbita mindranīla-nikara-cchāyānukāridyuteḥ

lajjāvyāja mupetya namravadanā spaṣṭaṁ murāre rvapuḥ

paśyantī muditā mudo ‘stu bhavatāṁ lakṣmīrvivāhotsave

uttuńga — long; stanamaṇḍalo — chest; opari — surface; lasat — shine; prālamba — hanging from neck to
chest; muktāmaṇe — pearls necklace; rantarbimbita — core shining of; mindranīla — indranila gem; nikara
— cluster; cchāyā— shadow; nukāridyuteḥ — imitate your complexion; lajjāvyāja — in disguise of shy;
mupetya — having approached; namravadanā — sunk face; spaṣṭaṁ — vividly; murāre — killer of murā
demon; rvapuḥ — body; paśyantī — seeing; muditā — delighted; mudo ‘stu — for sake of happiness;
bhavatāṁ — yours; lakṣmī — mother Rukmini; rvivāhotsave — in wedding

In wedding, Mother Rukmini, filled with shy delight, rise head catch a glimpse of Krishna. As her eyes
move downward, she saws behold a vast chest adorned with a swinging pearl necklace, the source of a
radiant indranilamani. Krishna also lowers his head with a shy glance, when transcendental love
blossoms within my heart .
2.64
kṛṣṇenāmba gatena rantum adhunā mṛdbhakṣitā svecchayā

tathyaṁ kṛṣṇa ka eva māha musalī mithyāmba paśyānanam

vyādehīti vidārite śiśumukhe dṛṣṭvā samastaṁ jaga-

nmātā yasya jagāma vismayapadaṁ pāyātsa naḥ keśavaḥ

kṛṣṇenāmba — kṛṣṇa’s mother; gatena — gone; rantum — for playing; adhunā —now; mṛdbhakṣitā —
eaten mud; svecchayā — sitting alone; tathyaṁ — truth; kṛṣṇa — Lord kṛṣṇa; ka — who; eva — like this;
māha — said; musalī — Balarama; mithyāmba — lying mother; paśyā — see; ānanam — my face; vyādehīti
— O open it; vidārite — opened mouth; siśumukhe — child face; dṛṣṭvā — seen; samastaṁ — whole; jaga —
worlds; nmātā — mother; yasya — whose; jagāma — stunned; vismayapadaṁ — got into amazement;
pāyātsa — protect; naḥ — us; keśavaḥ — one with long hairs (kṛṣṇa)
 Balaram went and told Mother Yashoda, ‘Mother, Krishna is eating mud sitting alone. Come quickly.’
Mother Yashoda went and asked Krishna. He replied, ‘No, Mother, everyone is lying. Check my mouth.’
Mother Yashoda said, ‘Open it,’ and upon seeing inside, she was stunned in amazement that Kesava
would protect us.

2.65
svātī sapatnī kila tārakāṇāṁ

muktāphalānāṁ jananīti roṣāt

sā rohiṇī nīlamasūta ratnaṁ

kṛtāspadaṁ gopavadhūkuce ṣu

svātī — name of star; sapatnī — another wife; kila — certainly; tārakāṇāṁ — whole stars; muktāphalānāṁ
— pearls; jananīti — mother;
 3.105

ańgulyā kaḥ kavāṭaṁ praharati kuṭile mādhavaḥ kiṁ vasanto

no cakrī kiṁ kulālo na hi dharaṇidharaḥ kiṁ dvijihvaḥ phaṇīndraḥ

nāhaṁ ghorāhimardī kimasi khagapati rnohariḥ kiṁ kapīndraḥ

ityevaṁ gopakanyā prativacanajitaḥ pātu vaścakrapāṇih

ańgulyā — with fingers; kaḥ — who? ; kavāṭaṁ — doors; praharati — knocking; kuṭile — crooked;
mādhavaḥ — mādhavaḥ; kiṁ — what; vasanto — spring; no — not; cakrī — who have chakra; kiṁ — what;
kulālo — a potter; na — not; hi — indeed; dharaṇidharaḥ — who carrier earth; kiṁ — what; dvijihvaḥ —
one who have two tongue; phaṇīndraḥ — serpent-king; nāhaṁ — not me; ghorā — horrible; āhi — snake;
mard — killer; kimasi — what; khagapati — who king of birds; rnohariḥ — not I hari; kiṁ — what;
kapīndraḥ — king of monkeys; ity — thus; evaṁ — in this way; gopakanyā — cowheard girl;
prativacanajitaḥ — conquered; pātu — may protect; vaścakrapāṇih — who have chakra in hand;

Kṛṣṇa: knocking on the door with fingers.

Gopi: who are you?
Kṛṣṇa: O crooked one, I am Madhava.
Gopi: what? Are you the god of the spring season, Vasanta? Kṛṣṇa: No, I am Cakrī.

Gopi: what? A potter

Kṛṣṇa: No, indeed, I am dharaṇidharaḥ (the one who holds the Earth)
Gopi: What? dvijihvaḥ phaṇīndraḥ (the one with two tongues, the king of serpent)
Kṛṣṇa: No, me, killer of horrible snake (kalia).
Gopi: what? Khagapati (the king of birds, Garuda deva)
Kṛṣṇa: Oh no, I am hari.
Gopi: what? kapīndraḥ (king of monkeys)

Thus, in this way Kṛṣṇa was conquered in reply to cowheard girl, that cakrapāṇih will protect us