The Rasa Dance
Updated 4th January 2019
You will find here descriptions of Sri Krishna’s ultimate pleasure paradise, where we have eternally exquisite youthful bodies, always engaging in blissful love games, where all speech is the most beautiful song, where every movement is like an amazing dance, and where all wishes are continually fulfilled beyond our wildest dreams!
This first section celebrates The famous Rasa Dance, or Rasayatra, of Lord Krishna and the gopis, which is performed during the Full Moon night in India’s Autumn. The following passages from Sri Govinda Lilamrita can be download as a PDF file here …. The Raasa Dance
For those who are not familiar with the Rasa Dance of Krishna and the Gopies, here is a short introduction by AC Bhaktivedanta Swami, from the book “Krishna – The Supreme Personality of Godhead”
“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. 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 śaratseason was just suitable for a nice dance. So their desire to have Kṛṣṇa as their husband would then be fulfilled.
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.”
The Great poet and biographer of Sri Caitanya Mahaprabhu, Srila Kṛṣṇadāsa Kavirāja Gosvāmī has written this most wonderful account of the Rasa Festival:
I remember Radha and Krsna at night, having obtained Each other’s company and being worshipped by Vrnda with many paraphernalia and who enjoy joking riddles, nice talks, plays and Rasa and Lasya dances along with Their most beloved girlfriends.
Vrnda and her group prayed to Radha and Krsna, taking them to the veranda of the most beautiful jeweled temple, which was illuminated by the light of the full moon. There she made them sit down on a golden flowerthrone which was covered with a fine in a pleasant spot cooled by a breeze from the Yamuna. Vrnda and her maidservants served Radha and Krsna with wonderful flower-ornaments, garlands, betelleaves, scents, fans and nice water taken from the art-studio.
Seeing Vrndavana, Sri Radha, the night, the Yamuna and her banks, the desire to play Rasa arose in Krsna’s heart. One by one Krsna began all different items of His Rasa-festival with the gopis, like the play in the forest (vana vihara), wandering and dancing in a circle (cakra bhramana), ladies dancing in a circle (Hamsaka), mixed dances of ladies and men (yugma nrtya) , male dance (tandava), female dance (Iasya), single dance and essay-song with conjugal humours, dancing and watersports.
The soft breeze caused the vines on the trees, that were illuminated by the full moon, to tremble. Krsna’s presence and the spring season beautified the forest more and Krsna’s desires for enjoyment were aroused by seeing the nice forest with its dancing peacocks and singing bees and Pika-birds.
Then Krsna made His desires known to the gopis by playing His flute and the gopis consented in their reply by singing His names. Krsna said: “The lustre of the white moon is beautifying the forest and its flowers, carrying My desires to enjoy with you!” The gopis replied: “0 Krsna! Krsna! Krsna! , Krsna! 0 Lover! Let it be so!” Krsna got up with the gopis and Vrnda and softly sang, wandering around with them, circumambulating all the vines, trees and kunja’s. Joyfully Hari rambled in the forest, where the leaves of the trees and the vines were moved by the soft Malayan breezes, where the cuckoos sweetly sang in the fifth note and where the bees hummed, peacocks meowed and the loving gopis sang songs. The trees, vines, bees, deer and birds of Vrindavana revived from their inertia, as if being showered by the nectarean vision of Hari’s enjoyment in the spring, which made them very happy, as if they had new life again. Vrindavana quickly came ahead to greet Krsna, bathing in moon-rays, moved by the wind and keeping her deer; birds and bees in front of her in great joy. The forest was washed by the golden water of the gopis’ splendour and the silver water of the moonlight. The mixtures of these colours were smeared on the scenery of Vrindavana. The splendour of Sri Radhika’s body, mixing with Krsna’s sparking lustre; was like the many moonbeams illuminating the restless leaves of a Tamala-tree.
Krsna asked all the forest creatures: “Welcome, 0 birds and deer! Are you all happy?” 0 Naga vines! Is all well? 0 Bumblebees! Is everything O.K.?”
The blooming branches of the trees in the forest danced with the wind as their teacher; the budding twigs were its hands and the flowers were its fingertips. The bees and cuckoos sang charming songs when they saw Hari. The Madhavi-vines thought that the innumerable greedy honeybees were very tired of following Radha and Krsna’s fragrance, so they called them to drink their honey with their hand-like blooming buds, which swung in the wind with great joy, melting of love.
The blooming Malati-vines praised Krsna with the humming of their honeybees in the springtime with the following teaching: “The gopis make Krsna happy by neglecting their household duties.” The Malli-vines that danced in the wind with their smiling flowers and restless intoxicated honeybees gave great joy to ran with their glances and their moving bodies.
Seeing Krsna approaching, all the birds in the vines recited auspicious welcome to Him. These happy vines danced in the wind, which made their blossom-like hands shiver. The kunjas made playbeds with fresh flower petals and various wonderful gunja-beads where the bees and Pika-birds sweetly sang to increase Radha and Krsna’s eagerness for love. The Krsna-cloud embraced the Radha-lightning, showering nectar and making deep rumbling sounds. Seeing this, the intoxicated peacocks danced with their peahens, spreading out their feathers and singing ‘ke ka’ out loud.
Vrindavana pleased all of Hari’s senses. His ears with her singing birds and bees, His skin with her cool breeze, His tongue with her ripe fruits, His eyes with her moonbeams and His nose with the fragrance of Her blooming flowers.
Vrsabhanu’s fairfaced daughter personally picked two slightly blooming Asoka-clusters and placed them in Hari’s ears with shivering hands. Hari went out to pick some flowers Himself wanting to adorn Her ears with them. Although Radhika usually wins loving quarrels, this time She was defeated and Hari put the clusters in Her ears.
The sakhis, whose waists are as thin as those of lions, sang Krsna’s glories with clear sweet voices and Krsna increased their lusty desires for Him by touching them on the pretext of adorning them with flowers in a lonely place, ornamenting them with moods like vivvoka, kila kinchita, vilasa and Jalita.
The vines sang Krsna’s glories through their honeybees and Krsna pleased them by touching them as if He wanted to pick their flowers. Krsna sang very attractive songs about the moon and the vines, and the gopis sang these songs again, now interpreting them to be about Radha and Krsna.
Krsna sang: “The beautiful moon (kalanidhi) pleases the world with his character and increases the girls’ lusty desires, taking the Radha and Anuradha stars with him.”
The gopis sang: “Beautiful, artful Krsna (kalanidhi) pleases the world with His character and increases the girls’ lusty desires, taking Radha and Anuradha (Lalita) with Him.”
Krsna sang: “The Punnaga tree is embraced by the blooming Malati vines in the moonlit nights (malati)!”
The gopis sang: “Krsna (who is Punnaga, the best of men) is embraced by the blooming Radha (malati) vine in the moonlit nights!”
Krsna sang: “The Madhavi-vine blooms up when she is embraced by the spring season and the spring is also beautified by the Madhavi-vine. The eyes of everyone in the world are pleased by this!”
The gopis sang: “Madhavi Radhika blooms up when She is embraced by Madhava Krsna and the eyes of everyone in the whole world are pleased by It!”
Krsna sang: “The blooming Tamala-tree (tapincha mauh) and the blooming golden vine (kancana valli) are always pleasing the honeybees (a Ii) with their meeting.”
The gopis sang: “Krsna, who wears the crown of peacock feathers (tapincha mauli) and Radhika, who is like a golden vine (kancana valli), please their girlfriends (ah) with their meeting.”
Krsna sang: “In the night, the bumblebee (madhusudana) sings on the fresh lotus-flowers (padmini), pleasing the hearts of those who hear it, on Cupid’s order. How amazing!”
The gopis sang: “At night-time, the bumblebee Krsna sings with the young lotus-like gopis (riava padminisu), pleasing the hearts of those who hear it, on Cupid’s order. How amazing!”
Krsna sang: “The moon, who is the lover of the night (rajani ramana) destroys the darkness and the joy of the lotus flowers (nalini kula). He is good fortune for the lilies (kumudavaka) in the cloudless (vigHaria) nights with its pleasing rays (sitigur gagane).”
The sakhis sang: “The lover of the gopis, Krsna (ramani ramanah) destroys the darkness and the joy of the wicked (khalini kula). In the blue forest (sitigur gahane) where there are no birds (vighana) He gives joy to all people (kumudakara).”
Krsna said: “The rising of the sweet moon gives Me no joy It gives great sorrow to the Cakravakas, it closes up the lotus-flowers and grasps the stars.”
The gopis said: “That joy-giving Krsna, who relieves the pain of the fair-eyed gopis’ separation from Him, giving pleasure to their eyes with His lustre and to the world destroying the demons, is just like the moon who rises to destroy all sorrow and bestows bliss to the world.”
While Krsna sang He was pleased with the sweetness of the forest and made the vines and the gopis bloom with the touch of His hands. Followed by the humming honeybees and gopis He came to a dais under the Yamsi vata tree. When He sat down there He saw that the Yamuna’s desires increased by having His blissful audience. She smiled at Him with the foam on her surface and sang with her birds, her senses becoming eager to unite with Krsna.
She stretched out the arms of her waves out of eagerness to touch Krsna with restless red blooming lotus-eyes, her nose being the crocodiles that stick their noses out of the water and her ears being the spinning whirlpools that yearned to hear His music and His words.
Seeing the bank of the Yamuna, Hari became eager to enjoy there and wanted to go there with His beloved gopis. When Krsna and the gopis came to her bank, Yamuna offered lotus flowers to their lotus feet with her waves, repeatedly praising them as if touching them with these lotus flowers and waves.
The swans and geese came from the shore of the Yamuna to learn from the swift movements of Murari’s and the gopis’ jingling ankle bells how to coo.
Seeing Krsna coming, Yamuna became very happy, stopped her current and increased her volume unlimitedly. But when she saw that Krsna was eager to cross her; she made her waters very shallow again. For Krsna’s pleasure Yamuna became just knee-deep and the rivulets by her banks were just ankle-deep. Hari crossed one rivulet after the other; enjoying on the banks with His dear ones, increasing their lusty desires by eagerly smiling and looking at them, speaking and joking with them, embracing them and kissing them.
Coming on the bank, Krsna danced a circle dance (cakra bhramana) with the gopis, eager to enjoy with them. This Rasa-circle was just half one hand high, standing on a disc on a stake stuck in the ground. Krsna stood in the middle with Radha, and three circles of gopis surrounded Them. In this way He looked like a Tamala tree entwined by a golden vine (Radhika’s arms) and watered by three golden irrigation-canals (the concentric circles of gopis).
On Radha and Mukunda’s order Lalita and the other sakhis began the Hallisaka and Radha and Krsna danced in their midst; holding Their arms on each other’s shoulders.
This Rasa-circle rotated like a potter’s wheel turned by the clever dancing steps of the Divine Couple and the gopis, that had nice buttocks. Acyuta placed Radha between Lalita and Visakha, placing Her arms around their shoulders. The gopis all sang and danced around them, with Krsna sometimes joining them. The gopis in this Rasa-circle sometimes moved slowly and sometimes quickly with light steps in step with Hari’s pace. Then Krsna expanded Himself and came in-between each two gopis, placing His arms on their shoulders, like a Tamala-tree dancing with golden vines.
Sometimes Krsna swiftly circled around the gopis like a firebrand, using light steps, and making each gopi think: “Krsna has not left me to go anywhere!”
Then the gopis formed one outer circle (the three circles merged into one) and Krsna did a rotating dance in their midst.
Krsna showed His own capacity by bending down and getting up while dancing or repeatedly going down on the floor and then quickly getting up again while rotating.
The gopis would also stoop down and get up again, sometimes one alone and sometimes all together; remaining in a circle.
After enjoying the circle-dance with the gopis in this way Hari came down from the dancing stage-disc for other; special Rasa dances.
He took all the gopis to the Yamuna-bank named Anangollasa ranga (the arena of blissful conjugal sports) which was cleansed by Yamuna’s soft, wave-like hands scented with lilies and sprinkled and anointed by the nectarean moon rays.
The gopis surrounded Radha and Krsna, holding hands in a circle, like the full moon and the Visakha constellation (here Sri Radha) surrounded by their corona (the sakhis).
The Rasa-circle looked just like a golden disc of rotating ladies turned around by Hari’s axle, directed to make pots for the potter-king Cupid on the potter’s disc of the Rasa mandala.
The gopis held each others hands and Krsna held His arms on each of their shoulders, blissfully wandering around and dancing different dances. In this Rasa circle Krsna’s forms all placed their arms on the gopis’ shoulders. This vision defeated the beauty of a rotating cloud in a whirlwind (Krsna’s dance) with steady streaks of lightning around it.
Sometimes Krsna danced alone, moving fast like a firebrand, showing Himself at each gopis’ side. The sweetness of Hari’s flutesong and the voices of the gopis, mixing with the jingling of their ankle bells, bangles and waist bells, going along with the rhythms of their dancing feet, pervaded the world.
They sang regulated and improvised tunes, separately with the sa ri ga ma pa dha ni notes. They blissfully sang both pure and changed tunes. The pure tunes had seven divisions and the changed had eleven.
There are three kinds of scales that are not perceived by mortals: sadja, madhyama and gandhara. They loudly sang the Gandhara scale. Casually they sang the twenty-two srutis (marginal notes), the seven main notes, the fourty-nine taanas (keynotes) and the twenty-one kinds of murcchana sancara (fading notes). They sweetly sang the fifteen kinds of gamakas (thrills) like the Tiripa and many kinds of steady and captivating beats, like the Dhala. They sang the two kinds of affixed tunes: Suddha and Alaga. This suddha is again three-fold: rupaka, vastu and prabadda. There are many kinds of sequential recitation (prabandha) with many kinds of raga, svara (melodies), patha (recitation, variegated sounds), nyasa (concluding melodies), amsa and graha. They sang the seven kinds of full (sampurna) voices, six kinds of sadava-voices and five kinds of audava voices.
They sang the Mallara, Karnataka, Natta, Sama, Kedara, Kamodaka, Bhairava, Gandhara, Desaga, Vasantaka, Raganagaya, Malava, Sri, Gurjjari, Ramakiri, Gauri, Asavari, Gondakiri, Todi, Velavali, Mangala, Gujjari, Varatika, Desa Varatika, Magadhi, Kausiki, Pali, Lalita, Patha manjari, Subhaga and Sindhudameta-tunes, one after the other.
The gopis always played jingling instruments, percussion, stringed instruments and wind-instruments Handed to them one by one by Vrnda. They played five kinds of drums: mrdanga, damaru (Siva’s X-shaped drum), dampha, mandu (slapping the hands on the water) and mamaka, three kinds of flute: muraJi, pavikaa and vamsi, karataJas (hand cymbals) and seven kinds of stringed instruments: vipanci, mahati, vina, kacchapi, kara nasika, svara mandalika and rudra vina.
While dancing, the gopis made different forms with the shadows of their hands, imitating a flag, a triple banner; a goose head, the head of the scissors, a parrot’s head, a deer’s head, tongs, a Khattaka’s head, a needle pin, a half moon, a lotusbud, a snake fang and other forms.
They clapped many kinds of rhythms, like the Dhruva and the Mantha, or their opposites. In these rhythms there are three divisions: past (atita), not yet come (anagata) and sama, that have sama (same), gopucchika (a cow’s tail) and srota (pauses). There are three kinds of tempos – fast, medium and slow – and two kinds of dharana – soundless and with sound. The gopis sang with two kinds of mana (pause sound) – varddhamana and hiyamana, and two kinds of rhythm – mana and avarta. Krsna and His sweethearts sang with Cancat, Puta, Rupaka, Simha nandana, Gajalila, Eka Tala, Nihsari, Addaka, Pratimantha, Jhampa, Triputa, Yati, Nalakuvara, Nudghutta, Kuttaka, Kokila rava, Upatta, Darpana, Raja kolahala, Saci priya, Ranga vidyadhara, Yadaka, Anukula, Kankana, Sri Ranga, Kandarpa sat pita putraka, Parvati locana, Raja cudamani, Jaya priya, Rati lila, Tribbangi, Caccaran and Vara vikrama – rhythms.
Then Sri Krsna began to sing different rhythmic story-songs and danced with the clever gopis. When Krsnacandra danced with Sri Radha, Lalita and others sang, Citra and others gave the rhythms and Vrnda and her group were the audience.
When Krsna danced alone Radhika and Her girlfriends sang amazingly difficult tunes and sometimes Krsna watched Radhika dance with amazing gestures.
Gradually the gopis made a line on the dancing stage, playing vinas and other instruments, singing different story songs (prabandha).
Although the stringed instruments, wind instruments, flutes, drums and voices all softly resounded in various ways, they became one with the sounds of Krsna and the gopis coming on the dancing stage and began to dance, following these sounds with their foot-taps and the movements of their eyebrows, hands, bodies and eyes.
Krsna repeatedly came out from between the gopis, moving His beautiful lotus-hands and feet according to the different rhythms they made, and began to dance: “tat ta tatthe drk iti drgitait drg tathai drk tathai drg tathai tha” to the great joy of the gopis.
Krsna began to dance and sing charming prabandha-tunes like tho drk dam dam kita kita kanakhai thokku tho dikku are jhai dram jhai dram kita kiti kiti dham jhenka jhem jhem ku jhem jhem tho dik dam dam drmi drmi drmi dham kanku jhem kanku jhem dram.
Radhika sang “tathathai thai tathai thai tathai tha”, and danced like a lightning strike in the Krsna-cloud, repeatedly making Her bangles resound with the movements of Her hands and making Her waist bells, armlets and ankle bells jingle along nicely.
Repeatedly and joyfully Isa (Radha) danced and sang: dham dham drk drk can can ninam nam ninam nam ninam nam tuttuk tun tun gudu gudu gudu dham dram dram gudu dram gudu dram dhek dhek dho dho kiriti kiriti dram drimi dram drimi dram.
Lalita then came out from their midst, like a lightning strike in a cloud. The golden bangles on her lotus-hands wentjham jham and she danced on the stage that had become bluish from Krsna’s lustre, loudly singing “Sham Sham tho tigada tigada tho tathai tho ta thai ta!”
Then Visakha came up, making her ornaments jingle jhanana jham jhat, playing kana kana kana with her vina and dancing. Her sounds mixed with the mrdangas pounding drmi drmi drmi dho dho dho and she sang “drgiti drgiti drk thai tho tatho tho!”
One sakhi danced, making her ankle bells and bangles repeatedly resound: thaitha thathaitha tatha tathaiya, another sakhi sweetly sang while making her ankle bells and bangles resound with the movements of her hands and feet, singing thai thai thai thai thai iathai thai tathai ta ! Another sakhi came on the stage, began to dance and sang: thaiya tha iya tatha tatha tha iya thaiya thaiya tigada tathaiya.
Then Krsna danced and loudly sang with a loving, joyful voice a a iati a ati ai ati aa ati a a a ! Look Radhike! It is as if the moonlight so bright makes the Yamuna bank dance! are a a a ati a a, the forest dances along with the soft breeze!
Radha danced and sang: ” a a i ai ! Your very sweet smile, the moon, the Kundaflower the swan, milk, diamonds and pearls all shine equally beautiful! are ai a ai a!”
The mrdangas nicely played ta dhik ta dhik drg in the Rasa dance. It was as if they mocked the demigoddesses in the sky (in this way dhik is a curse) being more pleased with the gopis’ dancing.
The vina and flute-playing gopis sang and gave the rhythm, and the mrdanga-playing gopis began to dance in ecstasy with the dancing gopis. While the gopis were thus absorbed in dancing and singing, their tight girdles, braids and blouses loosened. Seeing this, Krsna swiftly approached them while dancing to bind their clothes up again.
The gopis created various new sounds and ragas in the sa ri ga ma pa dha and ni-divisions with their songs. They divided the pure and narrow voices in thousands of other voices and sang many heavenly (margi) and earthly (desiya) songs. The gopis’ cymbals (ghana) sounded like monsoon clouds (ghana), their wind instruments (susira) sounded like needleholes (suci mula), the vinas (tata) sounded as pure as the clear sky (tata) and the percussion (anaddha) instruments sounded as attractive as strung ornaments (anaddha).
The sounds of the bangles, ankle bells, armlets and waist bells on the bodies of the dancing Krsna and the gopis sounded like the fifth kind of instruments after the four aferementioned kinds. They made a loud sound, following the four other kinds of instruments.
While they danced, the gopis’ mouths sang beautiful songs, their hands made beautiful gestures, their lotus feet gave beautiful rhythms, they sweetly shook their necks and hips, moved their eyes around and moved their pupils left and right while glancing at Krsna’s lotus like face, feeling great conjugal joy.
The marginal notes, the modulations and the regulated rising and falling notes never resound without the vina, but the gopis sang them. The unmixed notes of the voices again mixed with the marginal notes and the modulations. Some gopis sang them, showing their wonderful qualities, making Hari joyfully say: “Well done!” Then they sang the Dhruva note up to the bhoga and were praised even more for that by Hari.
Radha began to dance the Chalikya and Krsna was very pleased with that, so He rewarded Her with a heart’s embrace, not finding any better reward. Krsna made Radhika dance with His flute songs and Radhika jokingly indicated that He had made a mistake in His song and swiftly corrected Him with Her glances. Then She made Syama dance along with Her vina-playing and Her singing.
Radha danced and sang with Krsna as Hari did with Her. Although the sakhis were eager to assist Them with singing and dancing, they were unable to do so.
One gopi kneeled on the ground and stretched out her arms, rotating quickly, like Cupid’s disc, one gopi stretched out her arms and then contracted them to touch her different other limbs, performing a very difficult dance. Another gopi sometimes touched the ground with one hand and turned the rest of her body in the sky. Then she fell on the ground again, performing a rotating dance without other support. Some slender gopi bent her head backwards towards the ground, supine. Her bent back and belly looked like the golden bow of Cupid and her braids, that fell down to her heels, resembled the bowstring. In this way she danced very beautifully.
One gopi made her ankle-bells jingle to the rhythm, one-two-three, sometimes making the bells silent while still dancing in a wonderful way. All the qualified gopis who saw this, blissfully praised her for this, saying: “Well done!”(sadhu vada).
In this way Krsna and the gopis constantly danced and sang several of their own funny dances and songs in the Rasa-dance, like the songs and dances made by Brahma and Siva for Lord Visnu of Vaikuntha, His Queen Laksmi and all the goddesses of fortune, that were unapproachable by others.
Hari swam in an ocean of spiritual flavours, turning around and around in the Rasa dance, looking at one gopi, kissing another one, eagerly staring in another one’s eyes, drinking the nectar of some other gopi’s lips, holding one gopi’s breasts and scratching another gopi’s breasts with His nails. Krsna danced and made the gopis dance, sang arid made the gopis sing, was glorified by the gopis and also glorified them. In this way He played with them like a boy who plays with his own reflections. One gopi placed Krsna’s sandal-smeared arm on her shoulder and began to shiver, horripilate and cry of ecstasy when she smelled His fragrance, looking like a lightning strike within a raincloud. This doe-eyed gopi began to perspire on her forehead and cheeks from the fatigue of dancing. These sweatdrops adorned her like a friend of affectionate eagerness personified.
Fatigue caused the gopis’ clothes and dresses to slacken, and their breasts to heave with their deep breaths. Their foreheads and cheeks were anointed with drops of perspiration, but Krsna was even more pleased by seeing that. Thus the Rasa dance came to an end.
Krsna’s eyes eclipsed the beauty of a cluster of white lotus flowers. Restless Makara-earrings swung on His cheeks, being taught how to dance by an expert female teacher, who kept these earrings on her own cheek while chewing the betel-leaves that Krsna gave Her from His own mouth.
One gopi, who caused Krsna’s hair to stand erect of joy, felt the same sensation from Krsna’s touch. She placed her arm on His shoulder and blissfully rested on it for a while.
One gopi who was tired of dancing placed Krsna’s hands on her chest, making both the hands and her breasts perspire and horripilate of ecstasy. The touch of Krsna’s hands, that were cooler than millions of moons, soothed that gopis’ fatigue of dancing.
Again and again Krsna’s merciful, soft lotus hands wiped the tired lotus faces of the gopis, but instead of removing the sweatdrops, He doubled them because the gopis became ecstatic from His touch. One gopi, who was immersed in the nectar of friendship, wiped the sweat from her face with Krsna’s scarf and Krsna wiped His face clean with her scarf.
Waves of ecstasy moved by the play-ocean of Krsna’ bodily touch, where the fallen and broken flowergarlands, ornaments and clothes sank in and the doe-eyed gopis were unable to stop them from falling.
Thus they concluded that superb, manifold, unique, tasteful enjoyment of the Rasa dance. Now Vrnda understood that Krsna became eager to enjoy more advanced conjugal pastimes with His gopis.
…. Then Hari took the beautiful Radha to a wonderful play-bed in a kunja ….
©2013 Steve M. Doyle (Soolaba)